PicksInSix Review: Happy Days - City Lit Theater

“No longer young, not yet old.”
 PicksInSix® Review | Ed Tracy

Days begin and end with an alarm and brilliant flashes of light to signify the passage of time among the chaos of “Happy Days,” Samuel Beckett’s tragicomic vision of the world. There in the middle of it all is Winnie – effervescent in her curiosity, confidence and optimism that belies an undertone of futility even as she is hopeful for the promise of every new day. Winnie is immobile from the waist down, a mound of clutter, dirt and refuge consuming her – perhaps the compounded weight of life’s challenges… or a reflection of our wasteful society.

What lies out of reach is of no consequence. It is the absorbing performance of Kayla Boye, unfolding in a blazing stream of consciousness that is at once confounding and compelling, pushing artistic boundaries in an altogether new direction.  Captivating and buoyant in the first act – playfully taunting the unseen Willie and ripping through Beckett’s tacit observations on marriage, life and love with thoughtful, knowing elegance – Boye’s Winnie is immeasurably aged by her all-consuming surroundings in the second act, weighed down by it all from the neck down, searching for the last shards of hope and promise with only her voice and time-withered expressions left.  Singularly startling, daring and marvelous.

“Happy Days,” as with many Beckett works, restricts the actor’s movements, thereby limiting the tools of their trade. What remains here is a one-on-one experience with the audience. Combining passion and power in the abstract, the play then delivers a moving, not-so-final resolution that begs the existential question: What is it meant to mean?

I have been ruminating on that one for several days.

Boye, a triple-threat Chicago talent who has also written, produced and toured her critically-acclaimed Elizabeth Taylor biography “Call Me Elizabeth” is directed here by Jon Dambacher, who is also designer. The mound of recycled materials and stark lighting, utilizes the intimacy of the City Lit Theater space to full advantage. This is at its core a quiet work about the evolving nature of Winnie’s situation.  It is our eagerness to align our curiosity and expectations with the playwright’s intent that keeps us riveted to the piece.

Developing solo projects of this caliber takes courage and stamina that only a few gifted actors possess. Boye is certainly up to the task. To venture outside a comfort zone and tackle a formidable work of this scale and substance is a worthy ambition that both matures the artist and the audience. A rare and welcome combination indeed.

PHOTO|Kàchí Mozie

KB PRODUCTIONS
presents
Samuel Beckett’s

HAPPY DAYS

Directed by Jon Dambacher

Starring Kayla Boye

CITY LIT THEATER
1020 W. Bryn Mawr Avenue
Chicago, IL 60660

through April 2

TICKETS

WEBSITE

For more reviews, visit: Theatre In Chicago

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PICKSINSIX Review: PIPPIN

“THIS “PIPPIN” IS A CROWNING ACHIEVEMENT!”

It was a busy Saturday night at the Mercury Theater Chicago on North Southport. “AVENUE Q,” — or, as I like to refer to it, the puppet juggernaut “AQ2,” since it recently surpassed 100 performances on its second run in four years and is now extended through December 30th — had capacity crowds at 5:30 p.m. and 8:30 p.m. While the puppet-handlers were on dinner break, a steady stream of patrons was veering off to the right into the shadowy and steamy Venus Cabaret Theater for the much-anticipated second show at the new venue, the iconic 1972 Stephen Schwartz hit “PIPPIN.”

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In a stroke of genius by the manager of the Mercury’s Traffic Control and Scheduling Department, the staggered performance times allowed for the delay of any lobby mayhem until “PIPPIN” got out, which happened to coincide with the intermission of “AQ2.” Nobody seemed to notice at all because everyone was happily chattering about what was behind Door “P” and behind Door “Q.” Venus is definitely coming into alignment with Mercury. This “PIPPIN” is a crowning achievement! 

The main character of “AQ2,” Princeton and Pippin are each trying to find their “purpose” in shows that could not be more different in musical style, tone and presentation. The absurdly fun “AQ2” is about puppets searching for the inner meaning of life. The Venus production of “PIPPIN” — under the direction of L. Walter Stearns, featuring the expertly stylized, Fosse-infused choreography of Brenda Didier, the razor-sharp musical direction of Eugene Dizon and performed by a trio under the direction of piano/conductor Andrew Milliken – emerges as the realization that if there is hope and love, nothing else matters.

The Leading Player (a commanding performance by Donterrio Johnson) moves in and out among his Players, who frame the familiar story of Charlemagne (Don Forston), Charles son’s Pippin (Koray Tarhan) and half-brother, Lewis (Adam Fane) and Lewis’ mother, Fastrada (a ‘mistressful turn’ for the multi-talented Sawyer Smith). Along the way from soldier, to ruler and ultimately, his corner of the sky, Pippin receives all kinds of guidance and advice from his grandmother, Berthe (the incomparable Iris Lieberman) in “Time To Start Living.” Tarhan’s quiet “With You” and “Love Song” with Catherine (Nicole Armold) are memorable Schwartz ballads. The Ensemble also includes Kayla Boye, Michael Rawls and a nice performance by Gabriel Robert in the role of young Theo.

The big numbers are on full throttle including Johnson and Company in “Magic To Do” and “Right Track”… Tarhan’s “Corner of the Sky” and “Morning Glow”… Armold’s “Average Everyday Woman” …and Smith’s “Spread A Little Sunshine.” There is a special place for everyone in “War is a Science,” a scene that includes a very amusing topographical element (video and projections by G. Max Maxim IV) before the men go marching out into the fray, replete throughout in Rachel Boylan’s dazzling costumes.    

Venus Cabaret Theater is evolving into an epicenter for innovative, high tech, cabaret-style musical productions. For “PIPPIN,” the colorful, new show that works exceptionally well on the darker, more mysterious, side of the cabaret spectrum, veer just to the right through Door “P.”

PHOTOS|Michael Courier

VENUS CABARET THEATER
Presents
PIPPIN
through December 16th
3741 North Southport
(773) 325-1700

WEBSITE

For more reviews, visit: Theatre In Chicago

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