Displaying items by tag: Raven Theatre

They say you should never meet your heroes. That may be the case in Philip Dawkins' new play 'The Gentleman Caller' at Raven Theatre. Dawkins', a popular local playwright, was commissioned to write this play about the strange friendship between Tennessee Williams and William Inge. This is Cody Estle's first production as artistic director of Raven Theatre. Tennessee Williams and Inge are often featured in Raven seasons, and 'The Gentleman Caller' gets a fitting premiere here.

The play is told in two scenes, the first takes place in a young William Inge's garden apartment in St Louis in 1943. It's supposed that Inge, a newspaper critic attempted to interview a then unknown Tennessee Williams about his upcoming play 'The Glass Menagerie'. The second act is a few months later, New Year’s Eve. Inge visits Tennessee Williams in a Chicago hotel following the premiere of the play. No record exists of dialogue between the two playwrights, but they maintained a relationship of sorts over the years. The dialogue in Dawkins' play is as he imagined it would have been.

This is an important distinction to make. The events of this play are highly fictionalized. 'The Gentleman Caller' says a lot about what Philip Dawkins thinks of these two playwrights. The character he's written for Tennessee Williams isn't very likeable. Throughout the play Williams feeds Inge a frustrating string of non-answers. Inge, a closeted homosexual is uptight and put off by Williams' vulgarity. There's a lot of sexual tension between the characters, but who’s to say if that was really the case.

Dawkins' play has an inspiring message for creative types or anyone that feels different. It gets a little buried in slow-moving and often redundant dialogue but there's some solid wisdom in there. Estle seems to share a similar vision for this production. It has the feeling of being at a Tennessee Williams or William Inge play.

There are only two actors in this play, Curtis Edward Jackson plays William Inge and Rudy Galvan plays Tennessee Williams. Jackson is well suited for Inge's restrained temperament. His final monologue is captivating. Galvan is somewhat miscast. The depth of his character gets lost in an unconvincing and mostly unflattering impression of Tennessee Williams.

In this play, we see Inge so very disappointed in Tennessee Williams the man, rather than the hero he'd imagined him to be. It may be that when researching this play the author came to the same conclusion. There's a melancholic thread throughout 'The Gentleman Caller'. It shows us a side of our literary heroes we may not like to see. The part behind closed doors and sometimes without success. In that regard, Tennessee Williams would certainly approve of this play.

Through May 27th at Raven Theatre 6157 N Clark Street. 773-338-2177

*Extended through May 27th

Having been wanting to check it out for quite a while, I was excited to go see Nice Girl at the Raven Theatre, the theatre’s latest offering, this one by Melissa Ross and directed by Lauren Shouse. Upon entering the Edgewater located venue, I walked into the warmth and was greeted by two friendly gentlemen. It is an unassuming, no thrills theatre, and unfortunately was missing a bar. As I went to find a seat, I noticed the sense of community at Raven Theatre. It was clear the staff was close-knit and well-connected in the theatre community.

I was immediately transported to Massachusetts as they play started. Both Josephine, played by Lucy Carapetyan, and her mother Francine, who is played by Lynne Baker, show fantastic chemistry from the get go and the banter between the two is strong, to say the least. In fact, their repartee is so realistic at times as they both pushed each other's buttons it made me uncomfortable.

The premise of the play is that Josephine is 37, single, and living with her mother. She befriends a coworker named Sherri (Stella Martin) who happens to be the saving grace of this play. She brings a much-needed energy to the sad life that Carapetyan so convincingly brought to her character. As the play progresses we are introduced to Donnie (Benjamin Sprunger) who is an old classmate of Josephine and they start to build a budding romance. But the characters prove to be bland.

There is a twist in the second half of the play in which I missed completely, most likely due to the lack of interest in the play’s characters. I truly struggled with the play and what it offers to its audience. It is sad and without much hope until the end of the show. What I yearned for was the steady, noticeable growth of Josephine throughout the challenges of her relationship with her mother but again, some changes occurred at the end.

Nice Girl is a bit hard to watch but it does have some humor breaks here and there, albeit on the more minor side – not enough to salvage the play. I struggled with feeling much hope for the main character. If seeing the play, be prepared to be sad and have a lot of hurt in your heart. However, when walking out of the Theatre many patrons commented that they enjoyed Nice Girl, obviously appealing to the taste of several theatre goers. Who’s to say who will enjoy what so, as always, check it out and make your own opinion.
Nice Girl is being performed at Raven Theatre where it is running until March 11th. Tickets available at www.raventheatre.com.

What a thrill to see a costume piece with moderately contemporary dialog. Charles Hampton's adaptation of Choderlos de Laclos' "Les Liaisons Dangereuses" premiered during the height of theatrical decedance in the 1980s. Razor sharp wit borrowed from Laclos' 18th century epistolary novel about sexual conquest among bored aristocrats make this an extremely titillating and provocative piece. Just reading the text is tickling enough. The play garnered critical praise on Broadway, and was followed by an even more successful film starring Glenn Close and John Malkovich.

AshtonRep bites off a bit more than they can chew with their current production at the Raven Theatre in Edgewater. The problem with this production is casting. The role of the conniving Marquise de Merteuil is played with cool dignity by Sarah Pavlak McGuire, her composed cruelty is fascinating to watch. Unbalanced co-star and AshtonRep founder Robert Tobin takes up the role of Valmont. It's imperative that Valmont be a suave casanova, one who ebbs sex appeal. Tobin is neither. He also tends to misplace the dialog. He often delivers his lines with a confusing modern inflection on purposefully crafted antiquated phrasing.

Director Charlie Marie McGrath makes an interesting choice by changing the time period from pre-revolutionary France to pre-revolutionary Russia. Though, for what reason? Hampton's script leaves the audience with a powerful image conjured by projecting the silhouette of a guillotine on the background. It feels like a missed opportunity not to give this play the full depth it needs. The staging is well-conceived, running with the idea of a chamber drama, having the curtains drawn to accent scenes like storybook chapters.

All in all, AshtonRep presents a faithful production of "Les Liaisons Dangereuses." It's an ambitious play for an emerging theatre company to take on, but there is a great deal of chemistry between the female ensemble here. Hampton's script is sturdy and holds up well in an era in which most people are more familiar with the teenage re-telling "Cruel Intentions."

Through June 21st. The West Stage at Raven Theatre Complex. 6157 N Clark St. 773-828-9129

The Scottish city of Glasgow wallows in economic depression, as this laborer’s family struggles through the hardships of basic survival. “All we’ve done wrong is to be born into poverty,” the father says in comforting the overworked wife wrapped in his arms. A crash look into the real housewives of Glasgow circa 1930, overcrowded and unsanitary apartments, unfaithful relationships, being unemployed and broke, rebellious teenagers, and human rights verse human cruelty clash in this epic three-act play at Edgewater’s Raven Theatre.

A complex tale of interweaving lives, Robin Witt impeccably directs a strong cast in the creation of this fast-moving family drama, sure to be a summer hit! Touching on many modern issues, this story carries its audience through a roller coaster of fears and tenderness: the joys of raising children, the sorrows of disaster befalling loved ones. Family, even society, pull together as economic struggles break them apart.

Especially touching is the graceful performance of Lori Myers playing Maggie Morrison, the matriarch who leads her family through this desperate saga. She clings to love although gossip, fighting, rejection, and illness nearly break her heart in two. A masterful portrayal, Myers carries the show with a touch of genius, inviting the audience to share her trauma and rejoice in her triumphs. 

Great talent work in Chicago, nowhere more so than in this production.  A slice of life, featuring excellent costuming by Kate Murphy and ingenious audio effects by Victoria Deiorio contribute to making this charming production an evening that leaves its audience with hope and enjoyable entertainment.

Griffin Theatre Company’s Men Should Weep runs July 5 to August 10 at 7:30pm at the Raven Theatre Complex, 6157 N Clark St in Chicago. The show runs 2:40 with two 10 minute intermissions. Tickets are available at www.griffintheatre.com or by calling 866-811-4111.

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