The House is arguably the best thing to happen to Chicago’s theatre scene. Totally innovative and wildly entertaining, this theatre is practically a lifestyle. The brainchild of a fascinating group of friends, the majority of company members are graduates from Southern Methodist University. Nearly thirty young adults make up this groundbreaking ensemble. They consist of actors, writers, directors, musicians, dancers, producers, graphic designers, and more. It is no surprise that everyone in this group at least doubles or triples in each of these talents. Everyone works together to create new works of popular theatre. Dance, music, and spectacle are combined to inspire imagination and break down the barrier between actor and audience by means of uniting the two in the sheer bliss of storytelling. Season four opens with yet another original play written by company members Chris Mathews and Jake Minton who brought us Dave DaVinci Saves the Universe back in 2005. The growth is not only apparent but they say it was with much “delicate pain and quiet celebration”. Their newest endeavor, a unique graphic novel-like experience is titled The Sparrow. Creator and director Nathan Allen worked closely with the co-writers to guide the ensemble in the creation of story and spectacle in a fully collaborative rehearsal process. And boy does it show! It is evident that everyone involved with this production owns what they have made — A dark yet incredibly beautiful reflection of high school trials and tribulations with a superhero twist. Emily Book (Carolyn Defrin) is a young orphan from rural Illinois who has been blessed with amazing powers. Gone astray after a small town accident, she returns to graduate with her class.
The entire cast soars with talent. Clear intentions, needs, and wants color the stage. Straying away from becoming characterizations of their roles, there is truth within every interaction. Carolyn Defrin is rightly awkward, nerdy, dark, and sweet as the powerful Emily Book. High school teacher Dan Christopher, played by Cliff Chamberlain, steals the show with his awesome presence and amazing listening skills. Paige Hoffman is always honest and in turn felt for as Jenny McGrath. Kat McDonnell is so connected to her character’s past; it is hard not to empathize with her struggle.
The Sparrow is successful in creating community and supersedes the idea of uniting the story with the audience. Director Nathan Allen sees this production as his discovery in story telling. Through an ultra collaborative process, it is obvious the journey from paper to the stage has been nothing short of open, honest, and good times.
The choreography is so ethereal and perfect that movement director Tommy Rapley deserves fifty hundred high fives. From ballet to basketball its place in the show resembles something that is usually only captured on film. It too tells a story. Utilizing all rules instilled in the Viewpoints technique (created by Anne Bogart) something magical has been realized.
Multi-media in approach, the video and projection incorporated in this production are necessary and expertly executed. The music score, composed by Kevin O’Donnell is ideal for The Sparrow. Performed by over fifteen musicians, it defines the mood and changes that happen within the play completely. With the simplistically wonderful scenic design by Collette Pollard, effective lighting and sound by Ben Wilhelm and Michael Griggs, efficient costumes by Ana Kuzmanic, and super cool magic effects by Dennis Watkins, the essence of this production is recognized in full effect.
A raising of the roof is in order for The House Theatre of Chicago. Fly On.
