Displaying items by tag: Victor Bayona

Blue in the Right Way audaciously chose for their inaugural production a 400-year-old play, WOMEN BEWARE WOMEN, written in 1621 by Thomas Middleton and adapted by the company’s co-founders Kevin Smith (Kevin/Kevin’s, also director) and Daiva Bhandari (she/her, also lead actor and choreographer). WOMEN BEWARE WOMEN was abstractly staged, accompanied by a pair of gender-bending commentators, with Spanish/English translation subtitles, original music, exotic projections … and as many other quirky devices as their extraordinary minds could devise.

The result had me asking other audience members, “Am I the only one who has no idea what’s going on here?” Unfortunately, the ones I asked simply looked at me pityingly, one saying, “It’ll all clear up with the second act.” Sadly, this did not transpire. In the first act actors wore sumptuous Jacobean garb, but in the second act costumer Alaina Moore (she/her) chose contemporary dress, and I had trouble even figuring out who was who, leave alone clarifying all that had gone before.

Smith added some notable supplements to Thomas Middleton’s original script. Most remarkable was the double act of Kidany Camilo (they/she/he, Solange) and Bree Perry (she/they, Clara) appearing throughout the show dressed as ‘maids from the Clue game’, with commentary and heart-rending narrative about Solange’s trans/femme childhood.

Also outstanding were Daiva Bhandari (she/her) as Livia, who ultimately gets embroiled in her own schemes and John Zhou Duncan (any with respect) as Ward, who romped exuberantly with Sordido (Shail Modi he/him). Ward is described as ‘immature’ – was this a euphemism for ‘camp as a row of pink tents’?

Kudos to intimacy consultant Leo Mock (they/them/he/him) and intimacy director Courtney Abbott (she/they); as well as and most particularly to violence designers R&D Choreography (Rick Gilbert (he/him) and Victor Bayona (he/him); the fights were marvelous, and the cataclysmic ending was spectacular.

The entire cast was extraordinary: Lynne Baker (she/her, Mother); Ryan Wright Cassidy (he/him, Hippolito); Johnny Moran (he/him, Fabritio); Huy Nguyen (he/him, Duke); Keenan Odenkirk (he/him, Guardiano); Christin Prince (she/her, Bianca); Mia Van De Mark (she/her, Isabella); and Brandon Wiman (he/him, Leantio). Cardinal was played by understudy Alex Amaya (he/him), who did a fine job with a suitably bizarre performance.

Sound engineer Chris Wood (he/they) gave us a lot of sound! though it sometimes overrode the actors’ voices. Likewise, Eme Ospina-López’s (they/them) videos and projections were powerful; sometimes overly so. The scenic design by Andersonville Scenic Studios was made particularly striking by a mirror on the ceiling so the action below was repeated above – striking, yes, but an additional confusing feature in a thoroughly bewildering show. The show ran more than 30 minutes longer than billed, and during the final scenes I kept wondering when it was going to end… and how would I tell when it did?

Also on the artistic and production team were Katie Mazzini (she/her, assistant director); Sonia Perelló (she/her, Spanish translator);  Tianxuan Chen (any with respect, scenic and lighting designer); Juan Contreras-Kirby (he/him, wig, hair and makeup designer); Sam Flipp (she/her, stage manager); Anna H. Gelman (she/her, production manager);  Lililo (Emma Ladji) (she/her, composer); Viviana Mendez (she/her, lip-sync choreographer); Catherine Miller (they/them, casting director);  Keith Parham (he/him, associate lighting designer);  Hayley E Wallenfeldt (any with respect, properties supervisor); Baylee Speer (any with respect, master electrician); Caitlyn Birmingham (she/her, assistant stage manager), and Claire Michalak (she/her, box office manager).  

WOMEN BEWARE WOMEN presented several problems for me, but these did not override its contributions: a stellar cast giving amazing performances and a wonderful production team. The flaw was that all this excellence exceeded itself – altogether too much of a good thing. Blue in the Right Way is unquestionably a theatre company to watch. Kevin Smith revealed himself as courageous and adventuresome; if Kevin can muster a soupçon of temperance Kevin can offer an invaluable addition to Chicago’s theatre scene.

WOMEN BEWARE WOMEN

at The Edge Theater

Running Wednesdays through Sundays through May 12