Thursday, July 09, 2009

Paving The Way For Fresh Theatre In Chicago

Paving The Way For Fresh Theatre In Chicago

Unless you're a new Steve On Broadway (SOB) reader, you already know how much I absolutely adore Chicago's Steppenwolf Theatre Company, along with all the incredible individuals behind the scenes who make it all come together.

As with many maturing theatre organizations, Steppenwolf takes enormous pride in championing tomorrow's creative stage visionaries today. Each year, Steppenwolf provides a select group of talented young men and women with the opportunity to intern and learn the ropes, often quite literally.

During my visits through the last several years, one highlight for me has been getting to know many of these incredibly gifted individuals. When one of them, a remarkably self-assured David Perez, happened to tell me that he was starting a theatre company with two of his peers from the Steppenwolf Theatre Apprentice Program (Brittany Barnes and Julia Dossett), I was intrigued. Being regaled by Perez's fearless determination and sheer grit, I just knew that this was someone to watch -- no matter that he may have been serving me a drink as part of his apprenticeship duties.

Perez, Barnes and Dossett, along with Tim Schoen, formed Pavement Group "with the endeavor to provide bold artistic opportunities for emerging playwrights, designers, directors, and arts managers." I love the fact that the vision of these Steppenwolf graduates is to serve as a test-kitchen for new plays and playwrights alike.

To date, I've had the good fortune of seeing two incredibly well-acted and directed plays, fracture/mechanics and Lipstick Traces - A Secret History Of The 20th Century. Mind you, since I'm a generation older than these brilliant twenty-somethings, I know I'm not exactly their target audience. But no matter. They are striking a powerful chord by providing riveting entertainment geared toward weaning a whole new generation on the joys of live theatre.

Pavement Group has taken a very important step forward in their evolution. In addition to producing many plays, they have jumped through the necessary hoops to become a bona fide 501(c)(3) organization. And with that, they're able to accept your tax-deductible donations. I hope you'll consider giving to this fledgling and immensely exciting theatre company.

Who knows? Pavement Group could very well be the Steppenwolf of tomorrow. But you can get those early bragging rights by supporting it today.

This is Steve On Broadway (SOB).

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Friday, June 19, 2009

fracture/mechanics (The SOB Review)

fracture/mechanics (The SOB Review) - Red Tape Theatre, St. Peter's Episcopal Church, Chicago, Illinois

** (out of ****)

Can a twenty-something woman trying to keep up with the boys in boudoir antics, bouncing from bed to bed, do so without any consequences or emotional scars?

In Mallery Avidon's frequently intriguing, yet ultimately frustrating new play fracture/mechanics currently being mounted by Chicago's bold Pavement Group theatre company, the answer appears to be a flat-out "no." Instead, there's a lot of anger and resentment.

Cyd Blakewell offers a particularly stunning turn as the coitus girl interrupted. Blakewell displays a remarkable, nearly manic range, often within a span of mere moments.

What was particularly captivating was the way in which this young woman's sex life was literally spinning out of control. Credit director David Perez for his keen eye on how mine the allegories inherent in her personal discoveries. Thanks to his vision, I actually felt chills running down my spine during the climactic turning point in the story.

Right through that critical moment, Avidon's script remained funny, engaging and wildly unpredictable. But from there, the 11th hour revelation offered a provocative detour that threw the show off balance. With that distraction, I was left pondering what clues I had missed all along. What Avidon's promising play is lacking an important degree of depth and elucidation. Fortunately for the audience, Perez's direction and his fearless ensemble do their best in transcending the material.

This is Steve On Broadway (SOB).

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