Displaying items by tag: Stephen Adly Guirgis

Notable New York playwright Stephen Adly Guirgis’s 2000 breakthrough play, “Jesus Hopped the 'A' Train,” is receiving a dynamic revival at City Lit Theater, with a fantastic cast delivering excellent  performances and inventive staging, all under the direction of Esteban Andres Cruz. Guirgis went on to win a a Pulitzer Prize in 2015 for his celebrated work, “Between Riverside and Crazy.”

Berwyn-born Cruz has a history working with Guirgis, and played the role of Angel Cruz in a 2008 Raven Theatre production for which they received a Jefferson Award. Now Cruz is guiding a brace of accomplished actors in Guirgis’ drama, along with 2024 University of Michigan graduate and relative newcomer Lenin Izquierdo, “an angel sent to us from heaven,” says Cruz. “He just had the beautiful thing about his heart that you can’t teach or fake.”

Izquierdo has the lead role that Cruz played, the young Latino Angel Cruz, who wounds a cult leader—Rev. Kim—who he believes is stealing away with his friends and family, and their money. Angel is arrested and sent to Rikers Island to await trial. When Rev. Kim dies from complications following surgery, the charges rise to murder. “Jesus Hopped the ‘A’ Train” thus carries the inherent dramatic tension of a jailhouse drama, and a courtroom trial.

Maria Stephens as Mary Ann

Guirgis’ play is structured in two acts, with a series of interconnected vignettes that allow each of the characters to deliver exposition, and full portrayals of themselves. Sometimes the vignettes feature a single character, or Angel paired with another—the sadistic guard Valdez (Manny Tamayo is stunningly good as an unvarnished tyrant); the court-appointed lawyer Mary Jane Hanrahan (Maria Stephens in a knock-out performance); the sympathetic guard D’Amico (Michael Daily brought me to tears); and Luscius Jenkins (Bradford Stevens) in a demanding role as a fellow prisoner, a convicted serial killer awaiting execution.

Lenin Izquierdo as Angel (left) and Manny Tamayo as Valdez

Scenic design by Tianxuan Chen is surprisingly effective in its minimalism: layers of canvas graffitied and draped as backdrop to an open stage. A backlit scene (lighting by Josiah Croegaert) is very striking representing off-stage prisoners tormenting Angel. Several scenes stay lodged in my mind: Angel Cruz forlorn in his cell, struggles in his first night in prison to recall the Lord’s Prayer, as prisoners taunt and complain in the background; the empathic guard D’Amico recounting his witness of an execution; Angel’s vivid recollectionis of the joyful play with his friends in the days of his youth.

With all its strengths, “Jesus Hopped the ‘A’ Train” falters perhaps on the basis of script: we get a little too much of the ravings of Lucius the serial killer, and the closing scene of the play seemed more like a diversion than a resolution.

“Jesus Hopped the ‘A’ Train” runs through September 27 at City Lit Theater in Chicago. It comes highly recommended.

*This review is also featured on https://www.theatreinchicago.com/! 

It’s not often a theatre company tackles two Pulitzer Prize winning plays in one season, but Steppenwolf is doing just that. While you may grow a long white beard waiting to see the 2016 winner, "Hamilton," Steppenwolf has 2014 and 2015 covered with "The Flick" and "Between Riverside and Crazy." Playwright Stephen Adly Guirgis' work was last seen at the Steppenwolf in 2012 with "The Motherf@cker with the Hat." He won the 2015 Pulitzer for "Between Riverside and Crazy." 

"Between Riverside and Crazy" is largely similar to "The Motherf@cker with the Hat," in that it deals with issues of addiction and inequality. "Riverside" tells the story of Walter (Eamonn Walker) who's a retired cop with one of the last rent controlled apartments in a nice part of Manhattan. The catch is that he's hopelessly waiting for a settlement from the city because he was shot by another officer. Walter, or Pops, as he's called has a habit of taking in degenerates and trying to nurse them back to health. He forgives people of their sins and keeps company with thieves and whores, sound familiar? 

Guirgis' play couldn't come about at a more topical time. Though, when thinking of an ethics tale about a police shooting, most would have a different notion of how the author would address issues of race. Guirgis is unflinchingly realistic, with the point being that nobody is perfect. The space between right and wrong seems to be too narrow for this play, as are most instances in life. What he does well is set characters up to appear one way, only to cynically devolve into what we're conditioned to assume. 

Eamonn Walker impeccably leads this top-notch cast. He's able to embody the grizzled, but lovable character in such a natural way you'd think you've known him forever. Audrey Francis also stands out in her performance as Walter's former beat partner. She plays an unlikeable character with such sincerity that you almost forget she's not really on Walter's side. Lily Mojekwu is one of the show's best hidden gems. Her character, Church Lady, doesn’t enter until well into the second act, but her narrative propels the story to its conclusion. She's another character you want to trust, but if you've been in the real world long enough, you know better. 

Yasen Peyankov's production of "Between Riverside and Crazy" is a slow building, but highly rewarding theatre experience on the same level as "Clybourn Park." Good for the Steppenwolf for forcing unpleasant issues in the face of middle class audiences. While some may leave the theater feeling as if their world views are affirmed, others will leave questioning their own morals. 

Through August 21st at Steppenwolf Theatre. 1650 N Halsted St. 312-335-1650