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Some Explicit Polaroids
by Mark Ravenhill |
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Oh how convenient it must have been to ignore where power comes from, or how worship of the free market system is still a religion of sorts that, like anything real, is fallible. Yet Mr. Ravenhill drags us forward with these unfulfilled characters, going so far as to present Nick and Helen as failed anarchic punks from the seventies or eighties. Mr. Ravenhill apparently believes that anarchy failed and left these characters without direction. He is apparently, too young to understand how possibly they might have learned something about themselves or the source of power, law and order, or maybe, just life in general. With age comes wisdom, a place that Mr. Ravenhill has yet to attain.
Likewise, the character of Jonathan is a frightening, manipulating, determinist free-marketer who pops into the story line to intimidate the weak and the "trash." Forget that a true determinist would have ignored the trash altogether long ago; that any revenge or grudge he would hold against his attacker would have been pushed far back into his psyche that even his disfigurement wouldn't have mattered anymore.
This leaves us with the story's three youngest characters, who have the most depth of character despite their self-loathing and world angst -- stereotypical gen-X's -- and barely that. The ecstasy-pill-popping trio push all their negativity away into the past and move forward with only happy thoughts in "Happyland." -- But only on the surface. Later in the play, each one of these younger characters slowly break down into more real human characters, allowing more depth to their feelings and emotions. Yet, they don't quite convince us that they've changed in anyway other than they've had another one of life's experiences that they must deal with. Tim, for example, dies, a victim of his own self-loathing and suicidal belief that being a gay man meant you contracted AIDS and died in a very orderly fashion. Mr. Ravenhill attempts to add a post-mortem character change (meaning you have to die to learn anything?!) where Tim admits to Victor that he loved him, but then continues to abuse Victors emotions for his own entertainment.
Roadworks is a young theater company here in Chicago yet they've certainly proven their mettle in production values. The direction by Shade Murray was able to find in the characters what the script allowed, and the staging was never false or contrived. The play under less talented hands could easily degenerate into poor hand jestures and wooden characters. Mr. Murray's direction was helped immensely by Geoffery Curly's fantastic stage design, Lynne Koscielniak's lighting, and Annie Arnoult-Bessera's choreography to navigate it all. Steppenwolf's Garage space is very limited and one would suppose that the space is designed for low-tech, but I am consistently amazed at the ingenuity of Chicago's scene and lighting designers to create great effects and great designs with the simplest technology. I have to wonder, however, what the purpose of the photographic projections were, other than for effect. Photos have content, and while I recognized some of the photos, and see how they might pertain to the storyline, others fell flat. This inconsistency in choice of imagery left me kind of confused to their purpose. I think it would have been prudent to have put more thought into the photographic projections.
Of particular note among the actors were the parts of the three youngest characters. The fabulous Bruch Reed, who I think will take any part as long as there is the chance to wear high heals, gave a very convincing performance as Tim, and very obviously enjoyed commanding David Baca's Victor. Mr. Baca was no less unconvincing as the European boy toy who seemed to enjoy his part as much as Mr. Reed. Katie Maringer's Nadia was simply amazing. One would never know that she replaced another actor only six performances prior to opening; an event that is very devastating to a cast when it happens, however this cast absorbed the blow and moved forward with amazing gusto.
Overall, one should see this play if only to see a great production of a promising British playwright. There is lots in this production that is entertaining. There is also lots of new play development occuring in Chicago, and Roadworks seems determined to find the most promising plays. A young voice willing to add the edge of new directions, however misguided I may find the playwrights to be.
--Richard Donagrandi
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