Displaying items by tag: Venice Averyheart

Trapdoor Theatre’s “The Cuttlefish” ought to be confounding, but somehow this 1920’s surrealist play from Poland is clear as a bell. Though ostensibly about the philosophical struggle between art and politics, the audience easily recognized echoes of the present-day overall fix in which society finds itself.

Before any dialog, even before house lights go down, “The Cuttlefish, or the Hyrcanian Worldview” (its full title) opens somewhat bewilderingly on a stage with four characters: a masked, gold-clad Statue of Alice D’Or (Keith Surney), whose postures beside a short classic stone column suggest a Greek sculpture. Further backstage is a high ranking church cleric in mitre and liturgical robes, gesturing spiritually—Pope Julius II (Emily Lotspeich), patron of Raphael and Michelangelo. Stage left, a figure in a suit slouches and periodically collapses against a wall, the artist Pavel Rockhoffer (Nicole Wiesner). And a woman wanders, hands outspread—the Mother (Venice Averyheart) of Rockhoffer, who settles into a seat and manages percussion.

What is going on? The audience puzzles through these characters, trying to make sense of the silent tableau, and the lights go down and dialog begins. Rockhoffer has become pessimistic about his creative works, which we learn have been condemned by a government council. “My art is a lie, a carefully planned hoax,” says Rockhoffer.

“Even prisoners serving a life sentence still want to live,” the Statue offers. Along the way Julius remarks, “A man without a worthy adversary is like God without Satan,” and leaving, offers “I wish you a short and unexpected death.” With very little naturalism or conventional exposition, these snippets reveal the conflict that is to be resolved by the end of “The Cuttlefish.”

But it is with the arrival of King Hyrcan IV (David Lovejoy) when the story comes alive. A villainous despot, he smooth-talks Rockhoffer, coaxing him to abandon his dedication to absolute artistic ideals, and come on over to pragmatic freedom of Hyrcania, the land he rules.

Lovejoy is an energetic force on stage, and brings the play to life. “I am a superman, or ‘an uber mensch’” King Hyrcan declares, convincingly. He offers to unchain the artist from historic patronage of entities like Julius, and to have full freedom.
“What do you believe in?” queries Rockhoffer.

“In myself,” King Hyrcan shoots back, and as inexorably as the manosphere today sucks in its lost, wandering adherents, Rockhoffer, after a bit of resistance, falls under his spell. He obeys when Hyrcan tells him to jettison his fiance Ella (Gus Thomas), as unfitting for the new Hyrcanian order. King Hyrcan works his wiles on a weakened Julius, who admits to doubt and crumbles too.

As the action unfolds and the plot thickens, it becomes clearer that the times prophesied by “The Cuttlefish,” which unfolded in the rise of fascist Germany, offer parallels to today —when cultural centers are being expropriated and renamed, arts funding cancelled, and freedom of expression curtailed.

The magic of Trap Door is its penchant for mining an obscure work of 1920s playwright Stanislaw Witkiewicz (translated by Daniel Gerould) to find a work that is regarded as a precursor to later absurdist and expressionist stage works in the 1930s. Under the direction of Nicole Wiesner, what might have been an inscrutable drama instead is intuitively understandable. As we laugh with relief at the line, “One can only hope” (the Mother’s interjection about the end of such terrible times), we may be reminded of Kurt Vonnegut’s advice: “The arts are not a way to make a living. They are a very human way of making life more bearable.”

“The Cuttlefish, or the Hyrcanian Worldview” runs through April 25 at Chicago’s Trap Door Theatre and comes recommended.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

In "Panther in the Sky," playwright Lani T. Montreal masterfully weaves a tapestry of grief, resilience, and redemption through the intertwined narratives of four culturally diverse mothers who have tragically lost their teenage sons to the relentless grip of gun violence on the streets of Chicago. With exquisite sensitivity and profound insight, Montreal crafts each character with depth and authenticity, allowing their voices to resonate with universal truths while honoring the specificity of their individual experiences.

What sets "Panther In The Sky" apart is Montreal's unwavering commitment to portraying the rich diversity of human experience. Through the characters of Mami (Aida Palma Carpio), Momma (Jamia Amira Taylor), Nanay (Nina Mae Vidal Howard), and Mother (Venice Averyheart), she explores the intersections of race, ethnicity, and socio-economic status, shining a spotlight on the unique challenges and triumphs faced by mothers from different cultural backgrounds. From Mami's fiery Latina spirit to Nanay's quiet strength rooted in her Asian heritage, Montreal celebrates the beauty of cultural diversity while highlighting the common thread of maternal love that binds these women together.

Director Mignon McPherson Stewart's masterful direction brings Montreal's characters to life with nuance and depth, drawing out the humanity in each of them with grace and sensitivity. Through subtle gestures, expressive movements, and evocative staging, Stewart invites the audience into the inner world of these grieving mothers and their spectral sons, allowing us to bear witness to their pain, their resilience, and their unwavering commitment to justice.

To convey the youthfulness of the sons, Stewart incorporates physicality and movement into the actors' performances, encouraging them to embody the exuberance and vitality of adolescence through expressive gestures, playful interactions, and dynamic stage presence. From Eddie's (Gustavo Duran) infectious laughter and James's (Kyle Johnson) irrepressible curiosity to David's (James Macapagal) endearing awkwardness and Michael's (Rashaad A. Bond) magnetic charisma, each actor infuses their portrayal with a sense of youthful energy that lights up the stage.

Stewart imbues these characters with a palpable sense of youthfulness, wonder, and promise, juxtaposing their ethereal presence with the stark reality of their untimely deaths. Through her insightful direction, Stewart captures the essence of adolescence—the boundless energy, the infectious enthusiasm, and the unbridled optimism that characterize this stage of life—while also infusing the characters with a sense of otherworldly wisdom and compassion beyond their years.

Stewart's genius lies in her ability to find the universal in the particular—to transcend the boundaries of race, culture, and identity to reveal the shared humanity that unites us all. Through her visionary direction, she guides her ensemble cast to deliver performances of breathtaking honesty and emotional resonance, leaving audiences spellbound and deeply moved.

The uncredited minimal set design, atmospheric soundscape by Rahsaan Nance, musical direction by Chip Payos, and evocative lighting design by Joshua Paul Weckesser seamlessly meld the two worlds of life and death, creating a hauntingly beautiful tapestry that transcends the boundaries of time and space. The minimal set, devoid of clutter and distraction, serves as a blank canvas upon which the emotional journey of the characters unfolds, reflecting the universality of the human experience. Rahsaan Nance's atmospheric soundscape, with its ethereal melodies and haunting echoes, envelops the audience in a world of emotion and atmosphere, blurring the lines between the earthly realm and the afterlife. Chip Payos's musical direction adds depth and resonance to the production, songs mourning lost potential were especially heart wrenching. Joshua Paul Weckesser's evocative lighting design, with its subtle shifts in color and intensity, underscores the interplay between light and shadow, life and death, guiding the audience on a journey through the depths of grief and the heights of hope. Together, these elements converge to create a transcendent theatrical experience.

"Panther in the Sky" marks the world premiere collaboration between Chicago Danztheatre Ensemble and Circa Pintig, following their successful partnership on "Daryo’s All-American Diner." While it may be tempting to label this as Chicago Danztheatre Ensemble's most ambitious work yet, such a statement would overlook the consistent trend of each production surpassing the last in both subject matter and execution. With a steadfast dedication to inspiring positive change through performance and social justice theatre, CDE, as articulated by its Executive Director Ellyzabeth Adler, remains committed to amplifying the voices of the marginalized and shedding light on important issues.

At its core, "Panther in the Sky" is a testament to the power of empathy, compassion, and solidarity in the face of unspeakable tragedy. It is a play that challenges us to confront the harsh realities of gun violence while inspiring us to act and make a difference in the world. In the hands of Montreal and Stewart, it becomes not just a piece of theater, but a profound and transformative experience—one that leaves an indelible mark on the hearts and minds of all who are fortunate enough to witness it.

Highly Recommended

When: May 3 to 18 Friday/Saturday @8pm

Where: The Auditorium at Ebenezer Lutheran Church

               1650 W. Foster Avenue

Running time: 1 hour, 15 minutes

Tickets: $10 - $30 (middle and High School students free)

https://www.circapintig.org/events/

https://www.danztheatre.org/panther-in-the-sky.html