It’s been a busy theater week for me. I’ve seen two excellent plays, one very good one and two others that need work.
Tom Stoppard’s Travesties at Remy Bumppo Theatre
Remy Bumppo performs excellent work on its second floor mainstage at the Greenhouse Theater Center. Their production of Stoppard’s Travesties is simply brilliant and I recommend it strongly. The premise is that there is a moment in time when James Joyce, Tristan Tzara and Vladimir Lenin were all in Zurich, Switzerland. It’s also a moment when the world is on the brink of change. Europe is at war, revolutions loom, and decades of other wars are ahead. The era of modernism in art and culture is emerging, represented by the novels of Joyce (especially Ulysses) and the deconstructionist poetry of Tzara, the founder of the Dadaist movement. Lenin sits in the Zurich Public Library, writing and waiting.
These three geniuses may or may not have met and conversed or debated in Zurich at that time, but no matter, Stoppard makes the premise work. The character who holds the plot together is Henry Carr, an English diplomat with a substantial ego and insubstantial intellect.
Nick Sandys’ direction is spot on. The dialogue is dazzling, the entire cast is excellent, and the costuming is ravishing. Travesties runs until May 2; don’t miss it. You may see me there again.
End Days by Deborah Zoe Laufer at the Windy City Playhouse
Yes, End Days is about the biblical belief in the end of days, but don’t worry, it doesn’t happen. And the story is much broader than the one character who thinks the world will end on Wednesday. (Yes, she is followed around by Jesus, but . . . no, never mind.) The script is well written and the cast is very good. The production is entertaining and thought-provoking. Direction by Henry Godinez makes all the parts gel.
The best reason to see this play is to visit this new theater venue in the Irving Park neighborhood (3014 W Irving Park Rd). End Days is the first production for the Windy City Playhouse, a theater space with an excellent bar and lobby, and best of all, super-comfy seating. Really, seating is not the only reason to go but it certainly adds to the theater experience.
See my Gapers Block review of End Days and read more about the theater itself. End Days runs through Apr 26. I’m looking forward to their next production.
La Bête by David Hirson at Trap Door Theatre
The talented Trap Door troupe does a fabulous job with this witty satire of theater, commerce and mediocrity. La Bête was first produced on Broadway in 1991—running 25 performances before closing. It was revived successfully in 2010 and then transferred to London.
The scene is 17th century Paris and involves the competition at court between the playwright Elomire (an anagram for Moliere) and a verbose newcomer actor/playwright named Valere. The script is written in rhyming couplets and the cast knows how to deliver the lines, thanks to superb direction by Kay Martinovich. Kevin Cox as Valere is simply outstanding. His electrifying act-one monologue is one of the treats of this theater season.
Some of Trap Door’s productions are minimal in design but the costuming and makeup in La Bête is lavish.
La Bête runs two hours, including one intermission, and you will enjoy every minute of the wordplay. It has just been extended to May 2. The tickets are cheap ($10 plus a small fee). Trap Door is located on Cortland and Paulina in Bucktown, at what was the very northern edge of the city at the time of the Great Fire of 1871. Just walk down that narrow gangway to a great theater experience. And put a few bucks in the actors’ box because these performers work for nothing. And that’s a travesty.
The Upstairs Concierge by Kristoffer Diaz at Goodman Theatre
After describing a theater company that does brilliant work on pennies, we come to a well-funded theater company that puts on lavish productions that are turkeys. That would be Goodman Theatre and although Goodman’s productions often are excellent, they are capable of wasting a lot of money that would have funded several storefront theaters.
The Upstairs Concierge is a perfect example. The set is beautiful. The production has been workshopped and fussed over for several years, but the script is dreadful. As I said in my Gapers Block review, “The Upstairs Concierge is a farce but the witty part is missing.” My review generously gave it two stars* (Somewhat Recommended) but other reviewers gave it one star (Not Recommended). See it at your peril.
* The websites I write for don’t use stars, although the two Chicago dailies do. Theatreinchicago.com, a website that compiles reviews and information for Chicago-area productions, uses a rating system, so my reviews appear there with a rating based on a one-to-four star system or Not Recommended to Highly Recommended.
The Good Book by Denis O’Hare and Lisa Peterson at Court Theatre
This is the same playwriting team that created the masterful An Iliad, which Court mounted twice and I found epic and moving both times. This play is an ambitious attempt to explore the roots of the Bible, its authors, sources and gender issues. It also threads two contemporary stories through the overly long performance.
The production has received mixed reviews, from somewhat to highly recommended. The friends I attended with liked the play better than I did. I felt the parts did not hold together well and one of the modern threads would have been better eliminated. One story is that of a nonbeliever, a biblical scholar and professor played by Hollis Resnik. The other is about a teenager played by Alex Weisman, committed to becoming a priest, who over time discovers that he’s gay and comes to grips with both his faith and his sexuality. The two stories don’t mesh and the latter story, in particular, doesn’t relate to the overall ambition of exploring the roots of the bible.
The Good Book runs through April 19 at Court Theatre. I didn’t review it, but check out the reviews here and decide for yourself if you want to see it.
In March, I saw The Apple Family Plays: Sorry and The Hopey Changey Thing by Richard Nelson. These two plays are running in repertory at Timeline Theatre through April 19. They’re both well written and performed. The plays are about politics and family but the underlying theme in both is deciding how to deal with an aging relative who may not be able to live at home much longer. The second play is particularly sad as they come to grips with the issue. It is a chance to see Chicago’s fine actor, Mike Nussbaum, on stage. At 91, he’s a dynamic performer.
All photos courtesy of the theater companies.