10-27-06
An Exploration of Mania in Building Stages’ Moby Dick
Fannie Hungerford, Leah Urzendowski, Jason K. Martin, Sarah Goeden, David Amaral and (in the foreground) Joel Sugerman in The Building Stage’s Moby Dick.
Has any novel gone through the adaptation process more often than Herman Melville’s opus, “Moby Dick?” It’s a self-referential metaphor: adapting “Moby Dick” becomes the Moby Dick of the theatrical adapter. As director Blake Montgomery points out in his program notes, “Moby Dick” covers many different themes and offers many different perspectives, offering a multitude of approaches for the adapter. In any case, however, consolidating hundreds of pages of prose into an effective dramatic piece is all about narrowing the focus of the story.
Building Stage has taken that process to the extreme, completely eliminating the role of Queequeg, choosing to focus tightly on Ahab and his obsession with defeating the white whale. No single actor plays any of the roles. Instead key costume pieces – a big coat for Ahab, hats for Starbuck and Stubb – rotate among various members of the cast. Indeed, at several moments all six performers appear on stage playing Ahab simultaneously.
What we get, then, is a portrait of a mania. Ahab clearly has reasons for his need to defeat Moby Dick, but lacking a single actor to develop a throughline, the full extent of his obsession is revealed rather than develops. There are key moments in this process: Ahab’s refusal to assist another ship’s search for missing sailors, or his threatening Starbuck with a loaded musket when questioned. And each of the ensemble manages a credible limp and glare when they assume the central role.
But something seems to be missing from the production overall. Set designer Marcus Stephens has created a great environment dominated by a large white coffin (perhaps the only reference to Queequeg in the show) and lots of ropes running up to the ceiling and back. Light designer Stephanie Millar helps out too, ranging the looks dramatically, and Kevin O’Donnell’s score, performed live by three musicians in white, proves effective – even stirring. Still, for a production conceived and directed by Montgomery, you expect a more visually intense presentation. There are few memorable stage pictures, and the physical work lacks a certain precision that might make it more exciting.
Perhaps it’s the subject matter, but the whole exercise feels like…well…an exercise. Montgomery and his cast appear to accomplish their goals. We certainly do gain some insight into Ahab’s obsession. But there’s not enough else going on to support a two hour exploration. Simplification is a necessary part of adaptation, but this production might have been better served by leaving in more of the complexity.
There were no reviews of Moby Dick as of PerformInk’s press time.
Caravaggio – Silk Road Theatre Project
Chris Jones, Tribune – “The same schism can be seen in Dale Heinen’s production. When honest and straightforward (which it is most of the time), it’s quite good and very decently acted by this non-Equity cast. At other times, though, the piece engages in some baroque storytelling, which tends to cheapen the whole. As Stoppard’s success proves, there’s a big audience for smart plays (and films) about the complex relationship between art and religion. With work, this could be one of those plays.”
Justin Hayford, Reader – “The Silk Road Theatre Project presents Richard Vetere’s drama about the 17th-century painter. Vetere’s static, historically questionable chronicle of the artist’s final desperate years seems to start over every 20 minutes. There’s little action, so the talented cast only postures for most of the two-hour show. Dale Heinen’s world-premiere staging is full of beautiful images, but ponderous pacing underscores the script’s inertia.”
Venus Zarris, Gay Chicago – “Despite the superb work and even astounding components to this production there is a deeper level of truth and intensity that somehow eludes the overall experience. Perhaps it is that Caravaggio’s original work is so transcending that it partially eclipses the peripheral elements of his dramatic life. Or perhaps there is a lack of focus as the script includes many elements but never fully satisfies the pieces that it dissects. Nonetheless, this is a bold and exceptional theatrical accomplishment that should not be missed by lovers of both art and theatre.”
A Room With a View – Lifeline Theatre
Chris Jones, Tribune – “Images of confining fabric – and the contrasting freedoms of art and nature – continue to haunt this impressive show, which features a beautifully crisp and unflashy adaptation from Christina Calvit, the talent behind innumerable fine prior Lifeline versions of literary classics, often created with Milne. But even by Calvit and Milne’s standards, this show is especially good. That’s mostly because the narrative staging, while less pretentious than you might see at other theaters around town, is uncommonly vivacious and fluid.”
Barbara Vitello, Daily Herald – “Anticipating Lifeline’s A Room With a View – adapted from E.M. Forster’s novel by Christina Calvit and directed by Dorothy Milne, both of whom have an impressive track record translating stories from the page to the stage – I had my library card at the ready. Lovely and amusing as it is, the show didn’t compel me to check out Forster’s coming-of-age novel about a bright young woman coming into her own. And yet Calvit’s refined adaptation of this Edwardian comedy of manners, coupled with Milne’s imaginative direction warrant an enthusiastic recommendation.”
Tony Adler, Reader – “The trope of English stick-up-the-assedness is so familiar by now that invoking it should require permission from a board of review. Director Dorothy Milne tries hard to refresh things with a still trapeze, slide projections, and actors playing statues. But what she really needs she doesn’t have: a performance from Hillary Clemens strong enough to make us worry whether her character, Lucy, will choose conformity or ‘truth, courage, and love.’”
Christopher Piatt, Time Out – “In Lifeline’s sometimes charming but overall uneven (and slightly predictable) premiere adaptation, the rush of adventure strangely doesn’t hit until Act 2. That’s also when Milne’s spare staging – which sporadically uses expected tricks like swaths of fabric for visceral moments and a girl in a large swing to represent Victorian childlike femininity – relaxes into a smoother, less wide-eyed narrative. Fortunately, the bright ribbon that runs through this Room is bracingly tart Clemmons. Rather than Pollyanna cloying, every step of her gradual awakening into womanhood convinces.”
Jenn Q. Goddu, Free Press – “If Lifeline’s latest world premiere were itself a room with a view, it would be one that looks out onto a pretty but plain courtyard. To see the breathtaking site you hoped for you’d have to climb up on the balcony railing and peer around a corner at an angle, catching only a glimpse of the wonder beyond your room’s view.”
Say You Love Satan – About Face
Chris Jones, Tribune – “Staged in the old Victory Gardens space, it also is the work of a young Yale-trained playwright about whom there is much buzz in New York. This affair offers no evidence for the enthusiasm. You’d think this kind of comedy was a good chance to satirically explore why so many people prefer to date flashy devils – and cruelly spurn those boring puppy dogs who love us completely and unselfishly. Be they gay or straight, anyone in the dating trenches knows the phenomena – from one side or the other. There are some hints of such a discussion, but this play is ultimately too in love with its own cleverness to have much useful – or funny – to say.”
Misha Davenport, Sun-Times – “Director Scott Ferguson (creator of Schoolhouse Rock Live) keeps things going at a breezy pace, but the 90-minute show could probably be performed without an intermission. The stakes at the end of Act One aren’t high enough to really warrant one. The second act also takes on an uncharacteristically dark tone before coming to a schmaltzy ending. You’re already captivated by the characters at that point, though. Give the devil his due and see this show. You can repent by seeing something of more theatrical substance later.”
Albert Williams, Reader – “Rising young playwright (and Marvel Comics writer) Roberto Aguirre-Sacasa penned this dark comedy about the gay pickup from hell… But the offbeat premise is squandered in glib cliches (think “Will & Grace” meets The Omen), and the horror-movie spoofing trivializes the pretensions to philosophical allegory (light and life vs. darkness and death). Crisp comic performances draw laughs in About Face Theatre’s production, directed by Scott Ferguson; especially good work comes from Scott Duff as a Truman Capote-esque angel and Elizabeth Ledo as the hero’s sardonic confidant.”
Nina Metz, New City – “The humor burbles at the surface, but never really erupts, and some of that lies on the shoulders of director Scott Ferguson, who wrote and created Schoolhouse Rock Live!, but more importantly (for this discussion) directed the superior Xena Live series for About Face in the late nineties. Here, Ferguson can’t overcome material that is just as pop-culture-laden, but not as sure of its purpose. Things move at a good clip, but to where? Playwright Robert Aguirre Sacasa doesn’t seem any clearer on this question than the audience. The whole thing feels like a rehash of Queer as Folk’s puppy-dog-meets-the-devil routine as enacted by the characters Michael and Brian. There’s valid entertainment in that, but it only goes so far.”
Kris Vire, Time Out – “Aguirre-Sacasa’s plot doesn’t hold up under close examination – yes, it’s fantasy, but it doesn’t even play by its own rules half the time. Great comic performances, however (Elizabeth Ledo as Andrew’s bitter best friend, multi-roled Scott Duff) and the flashy lighting and sound design (by Christopher Ash and Joshua Horvath, respectively) encourage us to sit back and enjoy the pop culture. Unfortunately Rollins, as Andrew, is the cast’s weak link; we should be on his side, but his one whiny note makes it hard to root for him. Still it’s awfully nice to be able to laugh at About Face again.”
Venus Zarris, Gay Chicago – “Director Scott Ferguson compiles a terrific cast and design team to execute this clever story. Sound designer Josh Horvath’s devilish house mix combines wonderfully with Jack Magaw’s scenic design that mixes images of Tom of Finland with movie posters from such Satan spawned classics as The Omen and Rosemary’s Baby. The ensemble and production are flawless.”
Quote of the Fortnight
“I grew up in a town that neighbors Calumet City, and it is a known fact that the girls from there are, by in large, easy.” – Venus Zarris reviewing Hell in a Handbag’s production of Caged Dames in Gay Chicago.