Author: Becky Sarwate

The Christians

Becky SarwateLeave a comment
pastor-paul
Tom Irwin stars as Pastor Paul

K. Todd Freeman, Steppenwolf ensemble member and Director of “The Christians,” is one of the most important talents to be found among Chicago’s robust theater community. As an actor (Tony-nominated for 2014’s “Airline Highway”) and maestro (2012’s electric “Good People”), Freeman influences projects that refract sociopolitical and spiritual dynamics into fascinating onstage shapes.

And he’s done it again with the Windy City premiere of playwright Lucas Hnath’s 2015 work, “The Christians.” Press materials describe the production as one of “great complexity and passion [which looks] at the relationship between belief and behavior… [an] evenhanded, unbiased take on faith in modern America.”

The work can be appreciated agnostically, though it is clear from auditing the Book of Job-esque cautionary tale of a righteously compromised man, that Hnath has read his Bible. And under the direction of Freeman, a Deacon’s son, a tortured, and at times wistful portrait of theology and fellowship is brought to life.

Pastor Paul (a layered and deft Tom Irwin) is the man with everything — the beautiful, devoted wife (Shannon Cochran), a growing congregation and a newly debt-free church. The preacher is the spiritual leader of thousands, a man seemingly in command of traditional morality infused with 21st Century humanistic flexibility.

One fine Sunday, Pastor Paul confidently takes his place at the lectern to articulate a “new belief in the nature of salvation.” What could go wrong with sharing a more inclusive interpretation of forgiveness?

In short and without spoilers, just about everything. Yet because of Hnath’s subtle, graded writing, Freeman’s careful direction and a number of top-drawer acting performances, there are no finite answers. If the audience is left with more questions than certainty by curtain call, that’s precisely the point.

After all, saints and sinners are rarely as straightforward as their neat categorizations imply. “Schism” is a word carefully chosen in the dialogue as well as the work’s plot summary. As Pastor’s Paul’s congregation and spiritual authority are tested, relationships viewed as unwavering from an outsider’s perspective begin to splinter.

Veteran actress Jacqueline Williams delivers a shattering profile of structural and personal crisis. As Jenny, a believer who feels betrayed and deceived by her pastor’s evolution, the artist conveys a desperate need for simple, clear direction. As an audience member, it’s impossible to remain unmoved by Williams’ vulnerability.

Jenny has struggled, suffered and given so much that her weary pleas for accessible duality — heaven/hell, Jesus/The Devil — feel less like judgmental denunciation and more like bereft confusion. Through Williams’ tears and soft speech, we hear Jenny’s accusation loud and clear, “I have burdens enough to carry. You were supposed to take this one, Pastor Paul.”

Tom Irwin, a 1990s pop cultural legend for Generation Xers, is the understated glue that holds the powerful cast together. Many fans will find parallels between Pastor Paul and Graham Chase, the complicated television dad Irwin played on ABC’s “My So-Called Life.” Both characters appear to have it all, but are cut off from enjoying their earthly bounties by self-destructive streaks that may or may not indicate a misguided allegiance to personal over public morality.

Why did Pastor Paul unburden his soul that fateful Sunday morning? Was he really bidden by the voice of God, or was he victimized by his own hubris, the freedom of speech and direction permitted by a mortgage bill paid in full? Audience members will never be more certain than the conflicted Jenny, or Pastor Paul’s wife, who wonders about the implications for her own spirituality pursuant to her spouse’s epiphany.

What audiences of “The Christians” can say with certainty is that the conversion of Steppenwolf’s Downstairs Theatre into a church with a live pre-show choir packs a powerful, authentic punch that sets the production’s tone. Veteran Scenic Designer Walt Spangler evokes the feel of a cavernous megachurch juxtaposed with the intimacy of direct spiritual conversation.

And chorus members Williams, Faith Howard, Yando Lopez, Leonard Maddox Jr., Jazelle Morriss, Mary-Margaret Roberts and Charlie Strater take viewers to the metaphorical mountaintop (regardless of belief) with soaring, passionate vocals that demand clapped hands and movement.

With an 80-minute running time and no intermission, “The Christians” is quickly paced, deeply felt and worthy of a spot on your 2016/2017 winter theater calendar.

“The Christians” runs through January 29, 2017 at Steppenwolf Theatre, 1650 N Halsted Street, Chicago, IL. For information or tickets, call 312-335-1650 or visit the Steppenwolf Theatre website.

 

 

 

The Fundamentals

Becky SarwateLeave a comment
the-fundamentals
Armando Riesco (Lorenzo) and ensemble members Alan Wilder (Abe) and Alana Arenas (Millie)

As we exited Steppenwolf’s Upstairs Theatre after Tuesday night’s press opening of “The Fundamentals,” my partner Bob remarked that he was reminded of the 1998 film “Wild Things.” Naturally I demanded further clarification because on the surface, the Steppenwolf-commissioned world premiere of playwright Erika Sheffer’s latest work would seem to have little connection with the soft core, Denise Richards skin flick. Bob explained that the two stories share a common problem — “too many twists.”

As I thought about the unlikely comparison, another similarity rose to the surface. “Wild Things” boasted a high wattage cornucopia of talent: Bill Murray, Kevin Bacon, Matt Dillon, Neve Campbell and the aforementioned Richards. “The Fundamentals” is crafted by an A-list playwright and acted by true stars of the Chicago stage including Steppenwolf ensemble members Alana Arenas (Millie), Caroline Neff (Stellan) and Alan Wilder (Abe). And yet for all the promise offered by the metaphorical opening credits, both works fall kind of flat, victims of overextended cleverness — “too many twists.”

The first act of the two hour and 15 minute production (with one intermission) is full of promise. Press materials describe the plot as the story of Millie, “a smart, resourceful young mother who works as a housekeeper in one of New York’s premier luxury hotels. When an opportunity to move into management gives her the chance to leave behind her blue collar life, Millie must decide how much, and who, she’s willing to sacrifice.”

An often sharp look at the dehumanizing, dream crushing effects of swimming with corporate sharks, “The Fundamentals” is a character study of compromise. Millie, as inhabited by the flawless Arenas, is given a relatable introduction. We all know someone like her, or perhaps recognize the character in ourselves: a devoted wife and mother keenly aware of the tradeoffs she’s made, chafing from an acute case of frustrated ambition. She is everyone’s reliable friend and co-worker, seething with latent anger that must find an outlet.

As the narrative progresses into the second act, Millie wades into moral murk that should open new dimensions and create suspense. However Sheffer overstuffs the script and the result is a different kind of murk that alienates the audience from the characters. Everyone is so busy scheming and double-crossing each other, it becomes impossible to root for anyone.

Case in point (with minimal spoilers): the trusting and friendly relationship between Millie and her longtime supervisor Abe is incomprehensibly degraded beyond recognition. Abe is far from a roadblock to Millie’s success and has in fact been a champion. The decision to abruptly transition him into tormentor smacks of deus ex machina overkill.

Rather than serve the story, the focus on corporate America is lost to a confusing explosion of infighting. It’s kind of impossible to pity characters or bemoan their fates with a creeping suspicion they all belong in the same jail cell. There are no winners here, but about 90 minutes into convoluted and repeated backstabs, it’s difficult to care.

All that said, Erika Sheffer’s gift for sharp dialogue remains evident, particularly during the first act. The author of another celebrated Steppenwolf production, 2012’s “Russian Transport,” Sheffer writes complicated exchanges that ring with organic truth. Getting to know Millie through conversations with her superiors and troubled, but loving husband Lorenzo (Armando Riesco) is an enjoyable build. Then Sheffer throws everyone off the narrative rails.

What a shame. With a cast such as this, it seems superfluous to observe that for all of its flaws, “The Fundamentals” is brilliantly acted. I’ve had the pleasure of seeing Alana Arenas perform in a multitude of diverse productions and the actress never steps wrong. When a production fails to work, it’s not for her lack of effort. Riesco and Audrey Francis, as corporate robot Eliza, are standouts as well.

Scenic Designer Collette Pollard turns in some good work here. The smallish Steppenwolf Upstairs Theatre stage feels like a cavernous hotel basement, believably conjuring the grimy Big Apple waiting for the characters as they commute to and from the office.

However in the end, we’re back at “Wild Things.” Like “The Fundamentals,” so many promising individual elements add up to a high-profile, memorable misstep.

“The Fundamentals” runs through December 23 at Steppenwolf Theatre, 1650 N Halsted Street, Chicago, IL. For information or tickets, call 312-335-1650 or visit the Steppenwolf Theatre website.

Methtacular

Becky SarwateLeave a comment
meth
Steven Strafford

Steven Strafford, the creator of one-man show “Methacular,” has left an indelible 2016 imprint on the Chicago theater market — and this critic. I had the pleasure of seeing him inhabit the role of dastardly, but ultimately redeemable editor Chick Clark in the Goodman Theatre’s smash musical production “Wonderful Town” earlier this fall. In that guise, Strafford was all lovely song and dance in a welcome early 20th Century meditation on foiled patriarchy.

Where “Wonderful Town” contained cotton candy set pieces and a mostly wholesome view of New York City in the 1950s, Stafford’s autobiographical work in “Methtacular,” is, shall we say, a departure? Very unfortunately, the show just concluded a limited two-night engagement as part of Steppenwolf Theatre’s LookOut Series. However, this past weekend was not the first Chicago mounting of the work and perhaps if theatergoers ask Strafford very nicely, it won’t be the last.

Press materials describe “Methtacular” as follows: “Through comedy, songs, and plenty of honest storytelling, Strafford brings audiences on a journey through the chemical highs, devastating lows, and ultimate redemption from his drug addled, sex crazed life.”

Seemingly against rational logic, “Methtacular” is exactly the triumph over tragedy night of good fun a battered American electorate needs. It’s true. I feel personally fortunate to have seen the show last Friday night. A mere three days after the once improbable triumph of Donald J. Trump over Hillary Clinton to become our nation’s President-elect, I felt I might never laugh again.

Like so many other shell-shocked and concerned citizens, I spent the previous 72 hours in withdrawal, afraid for the future of our democracy and so many of its demographics: the LGBTQ community, Muslims, immigrants in general, women. Pretty much everyone.

“Methacular” is a jolt of honesty, self-deprecation and entertainment that offers hope, even where the emotion ought to be in short supply. As Strafford wastes no time telling a rapt cabaret audience, he was a capital “M” mess before he grew into the celebrated and acclaimed performer Chicago knows today. Once upon a time he was a virginal Jersey boy, a budding performer new to our Midwestern shores. A young man who found himself lost in a drug clouded world of bathhouses, physical danger, deception and crime.

By all accounts during the 75-minute show, we ought to be speaking of Strafford in the past tense. One such testimonial is offered by Steven’s mother through a series of poignant, heartbreaking video clips. There is much to take seriously about the helpless experience of watching a loved one kill themselves in slow motion.

Yet the poignancy is a conduit to redemption. Strafford and his Director Adam Fitzgerald take great pains to step in all the ugliness — to bring the audience to an uncomfortable climax. And yet Strafford’s winning stage presence, his song, humor and visible health give away the ending right from the start. He is more than ok. He’s thriving. It’s fine to let loose and laugh at the absurdity of near death.

And there are plenty of laughs to subvert the darkness. Strafford directly engages the audience — with eye contact and by literally including members in some of the sketches. The performer brings something special to this stunning and entertaining confession. He knows that we know what it’s like to struggle with addiction, or to watch the disease take hold of a friend or a family member. It’s a heartbreakingly universal experience and yet through pain, there is always, forever, humor.

As we approach a time of great economic, social and judicial insecurity, “Methacular” doesn’t offer any easy answers. As Strafford says toward the end of the show, he’s not sure why he stayed in New Jersey and got sober at last. He “just did.” It’s as arbitrary an admission as it is inspiring. Perhaps it’s true of human nature that invariably, we get sick of being stuck and isolated. And we can laugh at ourselves on the path to enlightenment.

“Methtacular” ran through November 12 at the Steppenwolf 1700 Theatre, 1700 N Halsted Street, Chicago, IL. For information or tickets, call 312-335-1650 or visit the Steppenwolf Theatre website.

No Matter What Happens at the Polls, the Trumpists Already Won

Becky Sarwate2 Comments

trump-2016-10-27

“Whichever nominee of our two major political parties comes away the victor (because spoiler alert Jill Stein and Gary Johnson: it won’t be either of you), there’s a group amongst the 2016 campaign madness that’s succeeded beyond its wildest expectations – and our collective revulsion. The venerable New York Times devoted front page space to this cohort today. To wit: Donald Trump’s Extremist Supporters Feel Like Winners Either Way.

Because really, even if Trump is drubbed at the ballot box, it’s kind of hard to recork a popped bottle of (until recently) simmering racism and misogyny. And pop it these “special” interests did with a little help from the vilest human ever to receive a nomination for the nation’s highest office. Let’s take a look at some of the Trumpists key accomplishments…”

Read the full post at Contemptor.

Can an App Make a #NeverTrump Impact on November 8?

Becky SarwateLeave a comment

never-trump

“Of all the compelling storylines involved in the buildup to November 8, one of them is the potential effect third-party candidates will have on final vote tallies in various states. The #ImWithHer crowd in say, California, which is trending solidly blue, probably isn’t sweating much. However liberals in Utah might be concerned about Evan McMullin, an independent conservative. The candidate is currently polling at 28 percent in the Beehive State, a definite threat to both Trump and Clinton.

I’d heard rumors of such systems in existence during previous national elections, but a tip from a friend and an article in Vox earlier this week made me aware of an app whereby Third-party Voters are “Trading Votes” with Clinton Voters to Defeat Trump.”

Read the full post at Contemptor.