Lies & Liars Produced by Theatre Seven at Chicago Dramatist

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Could We Handle the Truth?

By: Timothy McGuire

The intriguing premise of “Lies & Liars” by Theatre Seven was underdeveloped but the acting was creatively entertaining. Margot Bordelon and Cassy Sanderson created and directed Lies & Liars, which investigates the nature of lies and whether our lives would really be better off if we always knew the truth. The story utilized to present the grey area between truth and dishonesty is told through the employees of an international lie protection agency (ALCOR) located in Chicago. In this office holds everyone’s files containing the vast number of lies that have been told to them, including the employees.…….

The idea of exploring the necessity of lies, and the impact it would have on our lives if we knew the truth about everything and everyone around us is interesting and holds the potential for a meaningful reflection on human nature. Lies & Liars falls short in its effort to question the depth of the nature of lies and its impact on its characters. The script does nothing to further give insight in to the subject matter of truth, and the presentation is plain yet saved by the chemistry and top-notch performance of the cast.

TO READ THE FULL ARTICLE PLEASE CHECK OUT MY REVIEW AT CHICAGO THEATER BLOG.  JUST CLICK THE LINK BELOW

http://chicagotheaterblog.com/2009/08/05/review-lies-and-liars-by-theatre-seven-of-chicago/

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The Much Anticipated “Blackbird” at Victory Gardens

Blackbird

Wanting to Escape Past Sins and Wishing to Continue Them

 

By:  Timothy McGuire

 

The much anticipated “Blackbird,” staring William Peterson and Mattie Hawkinson is disturbing giving humanity to both a child molester and his victim as their characters are presented on stage un-judged by the author David Harrower.  Fifteen years after an illegal relationship Una (Mattie Hawkinson) finds and confronts Ray (William Peterson,) the man who took advantage of her when she was twelve years old.  In Ray’s empty office cafeteria the emotional confrontation between them goes in unexpected directions as the molester and victim meet, or possibly it is past lovers meeting again.

blackbird meetingDavid Harrower has written a soul stirring play that shows the complexity of human emotions and the struggle we have with guilt and being honest with ourselves.  David Harrower does not try to justify Ray’s action or is in favor of abolishing the age limit for sexual maturity, he sees his work as more of a metaphor for questioning other social norms.  Harrower lets the characters stumble through their emotions, not demonizing or giving false purity to either character.  Both characters show their humanity, with flaws and wrongful desires along with kindness and love.  How horrible a crime was committed is left to the audience to think about and decide, Ray and Una struggle on stage to find that out for themselves.

Blackbird won the Olivier Award (Britain’s equivalent of a Tony Award) for best new play in 2007 beating out tough competition with plays such as Peter Morgan’s “Frost/Nixon” and Tom Stoppard’s” Rock and Roll.”  Making its Chicago premier at Victory Gardens, Director Dennis Zacek allows the unique text and talented actress/actor to carry the one act conversation. 

blackbird_confrontThe cold cafeteria was designed by Dean Taucher and he presents a simplistic setting, very detailed and desolate.  The remains of coworkers’ lunches are left strewn about, just another mess in the typical unfinished cleaning-up that takes place in a cafeteria.  The room that earlier in the day was busy with people and filled with life is now completely empty until the next morning, like the void that fills both Una and Ray’s heart since their earlier relationship.  The setting never leaves the office cafeteria and the time of the day expels a creepy lonesome feeling.  It seems strange a victim of a sexual crime would meet her predator there.

Fifteen years ago when Ray was in his forties, he befriended a twelve year old girl Una.  After serving three years in prison for child abduction, he has painfully put together a new life.  After seeing a picture of Ray in a magazine at her doctor’s office Una has come to confront her past assailant.  William Peterson sucks the life out of his character to portray a beat-down Ray just fighting to get from day to day.  Peterson’s ability to darken his emotions and stumble with the confidence to express himself is extraordinary.  The choices Ray made in his past were absolutely wrong, but what was his motive?  How did he let himself form a relationship with a twelve year old girl?  William Peterson captures Ray’s inner struggle with the guilt of his actions and the justifications he believes means something. 

William Peterson is a star, but this show belongs to Mattie Hawkinson.

blackbird_mattie&williamMatti, capturing her character’s poised and nervous state, came on to the stage as Una and through out her personal conversation with Ray kept the audience glued to her with their attention.  With just two characters in most the play, Mattie proved that she belonged on stage with the best of them.   After watching my favorite actor (William Peterson) the first comment I had when I left the theatre was “Get ready for Mattie Hawkinson.”  This should be a break out performance to a great career.

Blackbird posses that unique quality found in theatre which is to present a topic that forces the audience to an uncomfortable edge, as their skin crawls with the thought of empathizing with ideas that go against their moral core.  It forces you to question the most looked down upon actions in society, leading you to question personal crimes you have committed and how it would play out if you were confronted with the past fifteen years later.

 

blackbird_arguingHighly Recommended

Where:  Victory Gardens Theatre

Through:  August 9th

“Up” at Steppenwolf Theatre

UP_picTo Dream or To Be Responsible

 

By:  Timothy McGuire

 

We all struggle between our desire to chase after our dreams and personal aspirations, and the responsibilities we have to take care of our finances and personal relationships.  Bridget Carpenter’s “Up” now playing at Steppenwolf Theatre follows the balancing act of a middle aged man with no specific conventional goals as he tries to turn his dreams into reality and support his family in the middle of a tough economic climate.  Along with the “dream chaser,” Up follows an average middle-class family proudly in love with the unconventional passions of their husband/father, but questioning the practicality of such a lifestyle as they mature and their financial security is at stake.

Walter Griffin is thoughtfully played by Ian Barford.  In Walter’s youth he once achieved “stardom” when he attached 45 helium balloons to a lawn chair and took flight solo, 16,000ft in the air.  Years later Walter is still chasing after those dreams of greatness and that sense of freedom.  Now married and with a teenage son, Walter spends his time brainstorming and trying to think of his next big idea while his wife provides for the family by working as a mail carrier.

Up-2In their youth Walter’s Wife Helen (Lauren Katz) fell in love with Walter due to his adventurist heart and his relentless pursuit for greatness.  Their son Mikey (Jake Cohen) idolizes his father’s passion for the joys in life and his courage to pursue an unconventional lifestyle.  They have always understood and respected their husband/father but when Helen’s hours get cut at the post office and Mikey meets a new friend that opens his eyes to the necessity of being able to financially provide, their patience with Walter wears thin.

With the daily stresses of bills and constantly having to be the rational mind in the family Helen asks Walter to get a job.  Once smitten with the dream chaser inside her husband she now finds herself desiring the stability of a conventional man and pleads for just one day to relax and not have to worry.  Helen speaks about her imaginary husband, which represents the change in her feelings towards the man that Walter is.  In a flashback you hear Helen refer to her imaginary boyfriend as boring, being someone that is not as stimulating as the actual man she is with.  Now married, she refers to her imaginary husband as a provider and a man that supports and takes care of his wife’s needs.  Her imaginary husband represents the characteristics that Walter does not posses, but now she wishes he did.

Starting his sophomore year of high school Mikey meets a talkative pregnant classmate Maria (Rachel Brosnahan) who thoroughly makes an effort to get to know him through direct questions and honest interest.  Rachel Brosnahan gives a wonderful performance of a non-stop curious teenage girl, to the point of driving you crazy as a teenage girl can do.  As his relationship with Maria grows, Mikey recognizes the responsibilities that he would have to take on if he was to love her.  Loosing faith in his father’s ethos of finding happiness outside of the “establishment,” Mikey wants to make plans to earn money and the stability that a 9-5 job can provide.  Secret from his family, he takes on employment from Maria’s fiercely independent Aunt (Martha Lavey) and he finds a means to be a provider with his successful sales skills.

Eventually, to appease his wife and take care of his responsibilities as a father, Water accepts conventionality with a new job, and you can see his spirit breaking as he appears somber dressed in a suit and tie.  Months later Walter appears up-beat and content with his new employment when he is on stage with Helen, but he demonstrates the overwhelming sense of defeat and depression when alone.   His actions are peculiar for a hard working man, he still privately holds to his personal values and spits in the face of conventionality by burning and tearing-up his own money.

How does this family move forward as one when they all desire to walk in different paths?  Can their love for one another overcome their differences in values?

Up-3Bridget Carpenter has written a creative story that captures the details of an average American family and brings to stage the struggles that occur as the demands of family life take precedent over one’s individual dreams and what to do when your life partner does not choose the same path as yourself as you mature.  Each character’s situation in the play and their personality are used to explore the different viewpoints, and the direction that they desire to go. 

The director, Anna D. Shapiro, does a fantastic job as usual taking the time to develop each character and constructing a performance that uses the details in the dialogue and the ability of the actors to capture the emotional states of their characters to build the turmoil this family is going through.

The end of the play might leave you a little lost as to what just happened to Walter, although the symbolism of the French tight-rope walker Philippe Petit (Tony Hernandez) being incorporated in the final scene points the audience in the direction of what is taking place on stage.

 

Recommended

Where:  Steppenwolf Theatre

Through:  August 23rd

Boleros for the Disenchanted at Goodman Theatre

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The Hardships of Love

By:  Timothy McGuire

 

 

Jose Rivera takes us on an emotionally touching journey through the eyes and soul of his mother as she experiences the raw struggles, joys, flaws, disappointments and selfless choices that love demands.  As a young woman in Puerto Rico, innocent and filled with optimism in the strength of love, she leaves her unsuitable fiancée and meets the man she will marry.  “Boleros for the Disenchanted” playing at Goodman Theatre is about whether that love can sustain 40 years later, after the truths of life have been unveiled.

Henry Godinez & Jose Rivera

Henry Godinez & Jose Rivera

Rivera’s story begins in the early 1950’s in Puerto Rico with a breathtaking set designed by Linda Buchanan filled with an assortment of flowers, and bright simply constructed housing.  This Puerto Rican set is electrified with the romantic colors of the sky created by lighting designer (Joseph Appelt.) 

The cast of six actresses and actors each take on multiple roles as the play ages itself through the years.  With the outstanding direction of Henry Godinez, the transition of the characters’ lives over forty years has a natural fluidity and builds in intensity as it pushes various emotional nerves each act.

boleros_flora_sceneryAs the story begins, young Flora (Elizabeth Ledo) is engaged to marry the smooth talking charismatic machismo Manuelo (Feliz Solis) but she recently discovered that he has been cheating on her with another woman.  Raised in a strict Catholic household, Flora was keeping herself pure for him.  Flora’s mother warns her about being with a man like Manuelo but also speaks about the role of a woman in a marriage and dismisses the hurtful actions of men as it being in their nature.  This conversation between Young Flora and her mother is continuously funny and made more so by their ability to act as if they see no humor in their lines.  Flora has witnessed, as we witness, her father’s (Rene Rivera) emotional flar-ups and how her mother copes with these individual moments and maintains their marriage. 

Her father’s brash actions towards his wife and daughter leave the audience with a bit of distaste for his character, but the portrayal is realistic for the social norms of the time and emphasizes the social suppression of women.  He also represents the sentiment of the elder Puerto Rican society, a disappointment in the deterioration of their country, which is mainly blamed on the United States.  Neighbors with in the community are leaving for places like New York and Chicago, produce is being taken to the United States and being sold back to them at inflated prices, and the traditional values of the past are being taken for granted.  The value of family, honor and happiness over wealth remains in Flora’s household, and her parents hope she will marry a good Puerto Rican who will remain in Puerto Rico.

Manuelo also attempts to justify his polygamous actions by explaining the biological nature of men, but his refusal to remain faithful to her forces her to leave him.  Manuelo’s charismatic style of saying something ridiculous but making it sound romantic and sincere is gut-wrenchingly funny as he tries to romanticize his promiscuous ways. 

young Eusebio (Joe Minoso) meeting young Flora (Elizabeth Ledo)

young Eusebio (Joe Minoso) meeting young Flora (Elizabeth Ledo)

Heart broken but uplifted with the excuse to visit her free-spirited eccentric cousin Petra (Liz Fernandez,) Flora takes a trip to the “big” city.  Against her traditional upbringing of female purity Flora and Petra are sitting alone outside when they meet a young soldier who is interested in Flora.  Young Eusebio (Joe Minoso) is a kind patient man who draws the audience’s affection through his sincere love for Flora and desire for her happiness. 

Does Eusebio grow up to be the man and husband that Flora believes he is?  Does their love still flourish with the same excitement and electricity that they had in their youth while meeting under the Puerto Rican sun?

FLora (Sandra Marquez) & Eusebio (Rene Rivera) 40 years after meeting

FLora (Sandra Marquez) & Eusebio (Rene Rivera) 40 years after meeting

Nine children later, living alone in America, and taking care of her now disabled husband, Jose Rivera tells us the story of how his mother champions love in its most beautiful and encouraging states along with the most ugly and defeating moments that life brings. 

Jose Rivera’s ability to tell his parent’s story with heart-felt honesty astounds me.  The inclusion of multiple themes such as migration, the loss of traditional values in individual progress, the roles of men and women and the meaning of true happiness all created a complicated mix much like the lives of his parents.  The strength and vulnerability shown in Flora and her husband Eusebio are beautifully played by Sandra Marquez and Rene Rivera.  They capture the depth and contradicting emotions that come with forty years of marriage.

This beautiful story had me laughing for 2 hours and crying at the end.  It left a knot in my stomach and throat that only a story capturing the deepest truth of love can create.  This play represents love in real relationships and the truth that lies behind the stories of our lives.  In the end we see the strength that can surface when we choose to love.

 

Very Highly Recommended

Where:  Goodman Theatre

Through:  July 26th

Bent at Greenhouse Theater

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BENT_8[1].5x14FINALHubris Productions proudly presents Bent by Martin Sherman

 

Hubris Productions announces the closing of their third season with Bent by Martin Sherman at Greenhouse Theater Center, 2257 N. Lincoln Ave. With previews July 9 and 10, 2009, the production runs through August 15, 2009. Curtain time is 8:00 p.m. Thu/Fri/Sat and 3:00 p.m. Sundays. Preview tickets are $15. General admission is $25, with a student/senior rate of $20 at all performances, and industry tickets for $15 on Thursdays and Sundays. Group rates are also available. Visit http://www.hubrisproductions.com or call 773.404.7336.  Press Opening is Saturday, July 11, 2009, 8:00 p.m.

This production includes adult subject matter that may not be suitable for children.

There will be a Talkback Series with the director and actors immediately following the show on Sundays, July 12, 26 and August 9.  They will last approximately 30 minutes.

A distinctive story of love, Bent is very relevant thirty years after its Broadway opening in 1979 and seventy-five years after the time the story takes place.

In 1934 Berlin on the eve of the Nazi incursion, Max, a grifter and his lover Rudy are recovering from a night of debauchery with a SA trooper. Two soldiers burst into the apartment and slit their guest’s throat, beginning a nightmare odyssey through Nazi Germany. Ranked lower on the human scale than Jews, the men, as avowed homosexuals, flee. Desperate and on the run, Max asks his own “discreetly” homosexual Uncle Freddie for help as the older man offers little more than suggestions on how to live, as he does, practicing homosexuality on the side. Attempting their escape, Rudy is beaten to death as Horst, another homosexual prisoner, warns Max to deny his lover. Taken to a death camp at Dachau, Max and Horst branded with the “pink triangle”, hope to survive with each other for comfort and courage.

brilliant Director, Jacob Green

brilliant Director, Jacob Green

Artistic Director, Jacob Christopher Green directs this poignant story. The cast includes Christopher Kauffmann (Max), Timothy McGuire (Kapo), Jason Ober (Horst), Gregory L. Payne (Uncle Freddie/Captain), Michael Shepherd (Rudy), Andrew Strenk (Wolf/Guard) and Travis Walker (Greta).

The landmark drama, Bent, was written in 1970 by Martin Sherman. Living in New York City during and after the Stonewall riots of 1969, he knew that he had to address the lack of historical perspective. Prior to Bent, there had been virtually no inclusion of gays in discussions about the Holocaust. After being produced on Broadway in 1979, it was nominated for both a Pulitzer Prize and a Tony Award in 1980.

cast during rehearsal

cast during rehearsal

 

Hubris Productions continues its tradition of charitable giving by donating a portion of the proceeds from this production to the United States Holocaust Memorial Museum.

Learn more at www.hubrisproductions.com 

 

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Graceland at Profiles Theatre

HORIZONTALGraceland at Profiles Theatre

 

By:  Timothy McGuire

 

Chicago, IL – Four lonely lives in the northside of Chicago intersect in Ellen Fairey’s creative story Graceland.   The buzzing of fighter jets flying high above in the air show and the non-stop mention of the characters displeasure with the new smoking ban reminds us that the story takes place here at home.   Sara (Brenda Barrie) and Sam (Eric Burgher) are struggling to understand their father’s recent suicide, and to cope with their own isolated lives.  Frequently taking place at Chicago’s Graceland Cemetery, the story touches on the loneliness that that one can feel even while surrounded by people in a large populated city.

Sara is a single middle-class woman with obvious interweaving personal problems, and layers of complicated worries that are untold to the audience.  In the opening scene Brenda expresses a sense of anxiety that is within Sara.  She speaks and scutters around as if she has so many thoughts running through her head that she is unable to articulate them all.  Sara is bothered by her brother’s sense of indifference and she jumps from one topic to another trying to get an emotional reaction from her brother Sam. 

On the exterior Sam is an emotionally cool, even-keeled young adult who does not over-react to the highs and lows in life.  He hides his pain with hits from his bowl and tries to act as the rational one in their time of crisis.  Sam is also dealing with the loneliness caused by his father before he died, when his father started sleeping with his ex girlfriend Anna (Somer Benson.)  Partially to drown their sorrows with a beer and in part to find out more information on their father, the two leave and head to a local northside dive bar that their Dad frequented often.

Sara’s drunken night at the bar does nothing but worsen her complicated situation.  She ends up going back for a night cap with a smooth talking divorced patron from the bar with the motive of finding out more information on her father, but her desire for companionship leads to more.  Waking up from a one-night stand with Joe (Darell W. Cox) and wearing nothing but his Chicago Bulls warm-up shirt, she is surprised to run into a familiar boy she met at the cemetery.

Joe’s son Miles (Jackson Challinor) is an only child from a broken home.  His loneliness is expressed in his openness with strangers and desire for deeper conversation.  Even with Sara’s obvious discomfort, Miles is not shy in talking about his father’s sex life with her or his father’s previous ladies.  He his open with his own flirtations and mature in his comfort with older woman, and this leads to trouble.

As the four lives collide, we see the pain of loneliness and the regretful paths that it can cause people to choose.  We also see the significance of random encounters, and the importance of the brief connections we make with each other.  

Ellen Fairey’s comedic drama entangles a variety of complications within the four characters (and a surprising fifth near the end) to depict the loneliness the can occur even while surrounded by others in a crowded city.  Her story moves with constant new developments that keep the personal turmoil within the characters building.  Her choice of Chicago’s northside as the setting for her play, makes it that much more enjoyable for Profiles Theatre’s hometown audience.

Matthew Miller direction of Graceland keeps the action simple, and allows the dialogue and story to move the plot along.  Mikhail Fiksel must have really enjoyed his role in the play creating the fantastic sound effects of fighter jets screaming overhead.  William Anderson’s choice in the smaller details, like the Chicago Cubs Pennants hanging in Joe’s apartment and the floor made to look like grass with slender sidewalks, create a simple yet realistic setting that allows the audience to imagine the scene that is surrounding the characters throughout the different acts.

I wonder about the motive of the consistent rants against the smoking-ban.  The cast was allowed to smoke in the last play (Great Falls by Lee Blessing) that I attended at Profiles theatre, and that was after the smoking-ban took effect, what changed?  Were the negative comments regarding the smoking ban a statement by Profiles Theatre due to being forbidden to smoke within their own theatre, or was it part of the script to help identify with the attitude of many middle-class young adults?  Something leads me to think this was a personal statement by Profiles Theatre.  One that disagrees with the effects the smoking ban has on the realism of performing certain acts.  

Overall all of the actresses and actors did a wonderful job of creating distinct individuals.  Brenda Barrie gives Sara depth beyond her verbal dialogue.  In the beginning of the performance the conversations between each actress/actor felt real and unscripted, although as the play ran on some of the lines came off overly practiced and without sincere emotion behind their words.  With the exception of Erick Burgher, who from start to finish stood out with his focus and complete transformation in to his character (Sam.)

VERTICALDue to popular demand Graceland has now been extended through August 16th, and starting July 11th there will be an additional Saturday Matinee at 5:00pm.  This is a great opportunity to see a Chicago based play that will make you laugh and keep you talking about the events that take place in the play long after you leave the theatre.

 

Recommended

Where:  Profiles Theatre

Through:  August 16th

Tickets:  Buy online at www.profilestheatre.org or call (773) 549-1815

“The Crowd You’re In With” at Goodman

A 4th of July barbeque in the backyard of a Chicago two-flat

A 4th of July barbeque in the backyard of a Chicago two-flat

 

Thirtysomething in Chicago

By:  Timothy McGuire

 

It is so nice to go see a Chicago based play, walk inside the theater and see a picture perfect set that brings you right back to the two-flat that you came from.  For Goodman Theatre’s “The Crowd You’re In With,” Kevin Depinet designed a set to replicate the backyard of a Chicago two-flat.  With the mention of Wilson Street in the play, I assume they are located near my favorite part of town, Lincoln Square.  Watching this play, you have an opportunity to do, what “people-watchers” love, the chance to sit-back and watch a 4th of July barbeque while three couples in Chicago argue out the decisions they make in their lives. 

Rebecca Gilman’s “The Crowd You’re In With” cleverly uses three couples to present the argument for why some couples choose to have or choose not to have kids.  This is a personally familiar discussion (turn argument) for most couples in the theater, and the opportunity to look at it from the outside is funny and probably troublesome to some when it rekindles the doubts that they once had.  The general questions of whether or not someone wants to give up their own personal freedoms and whether they want a baby due to their own personal desire or because they feel they need to or should, are strong themes that most of the dialogue revolves around.  How these couples deal with the honest opinions and emotions of their spouses is another intriguing and powerful theme that resonates near the end of the play.

Janelle Snow and Coburn Gross (Melinda & Jasper) play a thirtysomething couple in Chicago that have very recently decided to try and have a baby, but have yet to conceive.   They are hosting a 4th July barbeque with the middle-aged landlords who live up stairs and their best friends.  The older couple played by Linda Gehringer and Rob Riley (Karen & Tom) are not old, but they have made their life decisions and have lived long enough to feel the outcome of the paths they chose to live.  Stephanie Childers and Kiff Vanden Heuvel (Windsong & Dan) play a pregnant couple, whom like many new parents, are sitting high-on-their-horse while they talk about the decision to have a child.  As the conversation at the party turns to children, all sides are firm on their positions and are increasingly insulting while defending their stance.  Even the comic interjection of Sean Cooper playing the stoned freeloader doesn’t stop the couples from taking each comment personally, and soon the “baby argument” begins.

Karen (Linda Gehringer) with her husband Tom (Rob Riley)

Karen (Linda Gehringer) with her husband Tom (Rob Riley)

Linda Gehringer and Rob Riley stand out amongst a talented cast.  Linda has great poise while delivering sarcastic remarks to prove her point.  Rob plays a confident easy-going older man with depth.  He has perfect timing when interjecting lines, and subtlety brings a kindness to his character.  Together Linda and Rob show a deep sense of familiarity with each other, and an honest respect and bond.  Their chemistry was not achieved by flaunting their love on stage, but through a sense of understanding each other.

Stephanie Childers is the judgmental, pregnant best friend of the hostess.  She is wonderful at expressing innocence in her voice and attitude in her physical domineer.  Her character is confident that having children is the “right” path for a couple, and is offended at any opposing opinions or doubts. 

There is no doubt that babies are in Windsong's (Stephanie Childers) future.

There is no doubt that babies are in Windsong's (Stephanie Childers) future.

The politically left tilting dialogue led to some terrific jokes.  The liberalism in each character along with the traditional stances on children, gave us people we can relate to in this liberal, yet Midwest-conservative city.

The conversation of having children, and growing older in general was not a complicated dialogue, but rather a familiar one to young adults in Chicago and creates a play that we can relate to.  There is no need for exuberant action in the Wendy C, Goldberg’s direction of “The Crowd You’re In With,” the entertainment is in the relationship the audience has with the script

I do wish that the older couple’s decision to live happily together without children would have been presented in a slightly more positive tone.  Their love for each other is the most honest and possibly the most interesting.  The themes of following your true heart and allowing yourself to be happy are brought to attention when Karen and Tom re-enter the scene near the end of the play.  They do express a sense of loneliness even though they are content and mention examples of holidays by themselves.  I understand if someone chooses a more solitary life, but you can grow older and still remain close to your family and current friends without having children like they did.  Choosing not to have children does not have to isolate you; it may even allow you to spend a greater amount of time on your current relationships with friends and family.

Throughout the play, there are elements that make me question the relationship that Jasper desires for Windsong.  He seems to know so much about her personal life, and brings it up without reason to do so.  Even when he talks about the aspects in her personality that bugs him, he does so in an intimate manner.  Why does he even care?  Is it just because she is his wife’s best friend, or does he have feelings for her?  Does he enjoy his relationship with Windsong, or does he feel a forced connection with her since his wife’s decisions are so heavily influenced on Windsong’s choices?

This performance was entirely engaging, if for no other reason then it is fun to look in on a similar conversation that you have personally experienced.  The closing of this play ends with an unprintable bang, but so do most discussions that are so directly important to your daily life.  It is more fun to watch it, then to participate.  Enjoy the show.

honesty hurts...

honesty hurts...

 

Recommended

The Crowd You’re in With

Where:  Goodman Theater

Through:  June 21