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Maybe we can chalk it up to a mid-life crisis…or, maybe, Wheeler is just a self-loathing man who’d just assume sabotage his own happiness rather opting to wallow in self-pity. In Steppenwolf’s Linda Vista, a new play debut by Tracy Letts and directed by Dexter Bullard, we get a very funny, and highly realistic, account of a man who has seemingly given up on life and love.

Wheeler (Ian Bradford) has moved from a cot in his wife’s garage to his own apartment in the Linda Vista apartment complex. With a soured marriage and an estranged relationship with his son coming to an end, Wheeler has the opportunity to start fresh, but that’s much more difficult than it sounds – at least it is for him. As we get to know Wheeler, a former Sun-Times photographer with promise who now holds onto a routine job as a camera repairman, we see someone who has been riddled with repercussions that have stemmed from a series of poor choices. Wheeler resents his soon-to-be-ex-wife for having him leave his Chicago life for California to be closer to her family. He resents his son for - well, just getting in the way of his life. He resents happy people. Hell, he resents Radiohead. But Wheeler has accepted his current situation – a cynical alcoholic that shoots down other people’s hopes and dreams, believing he is a “piece of shit” who “doesn’t deserve to be happy”. 

Wheeler’s best friend Paul (Tim Hopper) and his wife Margaret (Sally Murphy), friends from their college days, haven’t given up on him. They want to find him a partner who can bring out the old Wheeler who once had dreams and ambitions himself. When Paul and Margaret set Wheeler up with a friend of theirs, Jules (Cora Vander Broek), who is bright and bouncy, Wheeler reluctantly accepts and, as you can probably imagine, he has a few skeptical things to say after finding out she is a life coach. This, of course, threatens a man who wants a simple, joyless existence. Complicating matters for Wheeler, he takes in Minnie (Kahyun Kim), a twenty-four-year old rockabilly enthusiast recently kicked out of her own apartment in the same complex by her abusive boyfriend. 

The play is very truthful. It is about regret, wrecked opportunities and the consequences of unfortunate decisions. It is about letting oneself spin out of control, essentially giving up, and the struggle to choose happiness - a challenge when becoming so distant. But is also about hope and the chance to change for the better. In Wheeler, we are given a lovable “asshole” that we must root for. 

Ian Barford is tremendous as Wheeler. Barford quickly draws in the audience, grabs them and never lets go. Convincing, humorous and often decidedly heartfelt, Barford captures the essence of his self-deprecating character so well, we can’t help but think of a few “Wheeler’s” we know ourselves. Tim Hopper does fine work and is believable as Wheeler’s tolerable, but supportive, best friend as does Sally Murphy, both nicely adding to the play’s humor (I’ll just say karaoke bar scene). 

While Kahyun Kim is brassy and nails the too-cool-for-school attitude as Minnie, Cora Vander Broek is sparkles as Jules, perfectly pairing with Barford as his counterpart in a true positive/negative kind of relationship. We are also taken to the camera shop where Wheeler plugs away all day fixing one camera after another under the supervision of his crass boss Michael (Troy West), who is just waiting for a sexual harassment lawsuit to be filed against him as he repeatedly gawks and spews inappropriate comments at his clerk, Anita (Caroline Neff).

A revolving set takes us inside Wheeler’s California apartment, his workplace and to a bar. He lives simply, and that’s all he wants, DVDs of Stanley Kubrick littering his media stand and a refrigerator most likely only filled with a couple six-packs and a box of Arm & Hammer.   

Linda Vista is a well-acted ride into Wheeler’s uncertainties on turning fifty with the realization that his best years have long since passed. It is a play equipped with a stellar cast, a very funny script that is also genuine and even moving at times and direction that is so precise we can easily identify with each of Letts’ characters. 

Very highly recommended. 

Linda Vista is being performed at Steppenwolf Theatre through May 21st. For tickets and/or more show information visit www.steppenwolf.org

*Note – This play does contain full frontal nudity and sexual simulation. 

*Extended through May 28th 

Published in Theatre in Review
Tuesday, 23 February 2016 17:12

Review: The Flick at Steppenwolf Theatre

It's hard to make popcorn look unappetizing, but "The Flick" succeeds. Annie Baker's Pulitzer Prize winning play, begs the question, are you actually friends with the people you work with? Under the direction of Dexter Bullard, The Steppenwolf Theatre confronts this challenging new play. 

 

The play begins in the dark with a grand overture like in the epic films of yore. The Flick is a rundown, single showing room, movie theater in a small New England town. When twenty-year-old Avery takes a job at The Flick, he unknowingly disrupts the dynamic between the lifer employees: Sam and Rose. Avery is a young man struggling with depression. In almost annoyingly repetitive scenes steeped in film trivia, he opens up to his co-workers who he hopes are his friends. 

 

With the prevalence of multiplexes, independent movie houses have been forced to retire 35 mm film in favor of digital projectors. Instead of the bulky reels, movie theaters are basically just pushing play on a DVD. Avery is appalled at the idea of digital film and the future of the art form. Baker argues an intriguing point about the future of movies and in a way, the future of the world.

 

Baker also seems intimately familiar with the struggles of working class America. She's careful not to satirize it, or let her characters off too easy. The most bittersweet moments of her lengthy script occur while the characters perform menial tasks. There's a great deal of comfort in consistency, and it's in these long hours that people reach out to whoever is around them. Often the working world is disappointing, and there's really nothing more depressing than listening to someone complain about work. "The Flick" asks if we're more loyal to our paychecks than our co-workers. 

 

Like "Gone with the Wind" this play takes a great deal of patience. The plot slowly unfolds in scenes lengthened by silence. While some may find this pacing difficult, it's in the stilted lines and long pauses that the emotional honesty of this script lives. Baker spends a lot of time exploring her character's life philosophies. 

 

Performances are strong in this small cast. Caroline Neff as the alt-chic Rose is hilarious and heartbreaking. Danny McCarthy as middle-aged Sam, plays the everyman with such likable charm, that the nihilist ending sneaks up on you. "The Flick" is a play you'll spend a lot of time with both in and out of the theater.  

Published in Theatre Reviews

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