Private Eyes
by rick reed
In Steven Dietz' new play, Private Eyes, directed by Terry Green, and now running at the Theatre Building, we're treated to a promising first act. The story, about how a relationship can wither under the strain of fidelity, is extremely clever as it twists and turns on itself, making us constantly revise our expectations and understanding of the story as we witness the drama unfold. Concerning a director and two married actors who form a love triangle, the script has considerable bite, with its insight into the characters and their reactions as they go through staged scenes and real life. The fascinating, and refreshing, aspect of this soap—operaish story is not so much its content, but the way it's presented—with real and staged lives paralleling and criss—crossing in unexpected and often delightful ways.
Unfortunately, though, this production is bogged down with problems, which, by the end of the play, completely ruin any charm or interest the production might have had. The biggest problem lies in the script itself, which runs out of steam in the second act, becoming preachy and predictable as it moves toward its conversely bizarre yet blah conclusion. It's almost as though the playwright, having set up an interesting story and an original way of telling it, didn't quite know how to wrap it up. The performances, especially that of Bibi Tinsley as the wife, do not come across convincingly. Tinsley's performance, requiring the actor to go in and out of real and imaginary lives, seldom changes, giving us the same one—note performance throughout. We needed to see both sides of the character for any credibility.
I can't recommend Private Eyes because it's an ultimately boring evening of theater, even if it is about adultery and has a puzzle box of a plot. Too bad the playwright was never able to solve the puzzle to any kind of satisfaction.
Private Eyes runs through April 30. Call 773— 327— 5252 for tickets.
Kaleidoscape
by rick reed
Ringling Bros. Barnum's Kaleidoscape, being touted as a challenge to Cirque du Soleil, opened its tents at Soldier Field this past week. Cirque du Soleil needn't worry. Kaleidoscape lacks the magic, artistry, grace, imagination and sophistication that goes into Cirque du Soleil. I was very much looking forward to the circus and had high hopes. After all, these are the people who have the most recognizable name in circus entertainment in the world. Unfortunately, this circus, while it had a few high points, mostly disappointed. If you are a circus traditionalist and enjoy things like elephants and lion tamers, you'll find none of that here. If you prefer the new—age artistry of Cirque du Soleil and a whole school of imitators, you'll find none of the haunting music or performance art that goes into making one of those shows so spectacular. In short, Kaleidoscape is a circus that has a little bit of nothing for everyone.
So what is Kaleidoscape? It's a one—ring circus with a tarted—up set that looks just slightly better than the regular circus venue. It's headed up by Pipo, a Parisian Harlequin, who seems to have little purpose or connection with the audience, and David Larible, an Italian clown who does have a kind of romantic charm. Unfortunately for Larible, his clown routine gets overused to the point of tedium. None of the acts in are very magical or awe—inspiring. A couple of exceptions are Sylvia Zerbini, a trapeze artist ( ho—hum ) and horse trainer ( which was a high point; Zerbini took control of a whole sextet of horses and put them through their paces with style ) ; The Golden Statues, a trio of muscular young Adonises, were also a delight. Their contortions and creation of amazing human sculpture was breathtaking. The Kabanov, from Russia, a high wire, aerial swing troupe, also lent some real magical showmanship to the production. But moments like the Nuts and Bolts Royal Minstrel Band ( about as funny, and musical, as a severe case of gastritis ) and Olga Rogacheva with her ill—trained, pointless geese, demonstrated that Kaleidoscape has a long way to go if it wants to be a real crowd pleaser.
Kaleidoscape runs through April 30 at Soldier Field. Call Ticketmaster.
Bailiwick's
All Girl Review
by tracy baim
In an effort to promote the five lesbian—themed works in its upcoming annual Pride Series, the Bailiwick Theatre held a special benefit and preview night Saturday, and from the enthusiastic crowd response, it looks like Bailiwick's outreach and programming efforts for lesbians is finally paying off.
The show was way past sold out, but with the addition of extra chairs scattered throughout the venue, everyone who wanted to get in seemed to get a seat in time for Laurie Lee Moses' musical opening. Coco Soodek, who is on Bailiwick's board as well as its lesbian advisory board, co—chaired the event and served as its high—energy MC.
The show built from a slow start with an over—the—top scene from Brave Smiles, by the Five Lesbian Brothers. Ronda Bedgood literally took the stage next, in a passionate and powerful performance as "Peaches" in Dr. Shirlene Holmes' play of the same name. Ronda's aggressive choke—hold on this bisexual, bold, ball—busting, and, as she herself calls her, "bitch," is something to be witnessed—how about on HBO latenight?
Roxanne Saylor, accompanied by Laurie Lee Moses, performed two beautiful songs by Stephen Sondheim next, followed by lesbian comic Jessica Halem, who was in top form. She already had material about the lesbian finger—length jokes, and didn't hold back with her on—your—face brand of lesbian sexual humor. The audience was appreciative, and Halem had them in the palm of her lesbian hands.
C.C. Carter started out the second act with a piece she recently wrote ( and which appeared in BLACKlines ) , about women and their body sizes. She shattered stereotypes and we witnessed her self—esteem grow and her character come to terms with her new image of what it means to be a woman. She was funny, perfectly timed, and, as always, a treat to watch.
The next segment was to be excerpts from the upcoming Bailiwick production of the opera based on Isabel Miller's lesbian classic, Patience and Sarah. But singer Madeline Brent was ill, so Sasha Geritson performed alternate numbers and the crowd was not disappointed.
Bev Spangler was next, with a short piece, At The Root, by Linda Eisenstein. Spangler was wonderful to watch and listen to as she debated the issue of women's voices and lives, all while discussing the issue of whether to donate her tongue to a son who lost his to cancer.
L.B.D. was the show's final segment, and it while it was a staged reading, it was perfectly acted by Jody Wilson as Honey and Abby McEnany as Maya. Trish Cole's one—act play is tightly written, adding new comedy and insight into the subject—"Lesbian Bed Death." The facial contortions and expressions of Wilson and McEnany were a joy to watch. Their timing was impeccable and it was not even noticeable that they were reading from the script. A great end to a powerful evening of lesbian theatre, comedy and song. Then it was on to the wonderful food provided by At Your Service Gourmet Deliveries and Hypermeals.com
Along with Patience and Sarah ( Aug. 5—Sept. 3 ) , the other upcoming lesbian—inclusive productions in the Pride Series are: Relative Comfort ( June 10—July 2 ) ; Preaching to the Perverted by and starring Holly Hughes ( July 6—July 9 ) ; Brave Smiles ( July 6— 30 ) ; A Real Read in Jeopardy, a game show featuring Chicago's premiere African—American GLBT troupe ( July 13— 16 ) ; and Q, a new musical review ( Aug. 5—Sept. 3 ) . Call ( 773 ) 883— 1090.
