Displaying items by tag: Sydney Lynne

“What happens if we never loosen our grip?”

Director Mikael Burke ends his director’s note with the question above. He muses on the responsibilities of parents, and how all we want is to keep our children safe. We hold them close to keep them from harm, but ultimately, what does that do? Does it keep them safe? Or if we hold them too close, does the choice send them in the opposite direction – running towards any sense of freedom that they can find?

However, you might find that Burke’s question sheds light on a little more than just the role of parents in the play. What happens if we never loosen our grip on our children, but also our fears? Our insecurities? Our unhappiness, or even the dreams we once held so close? You might find that Burke’s question leads to another – If we never loosen our grip, how are we ever meant to grow and find something bigger?

Written by Terry Guest, Oak takes place in the south where we meet three young black people – Pickle (Jazzy Rush), Suga (Stephanie Mattos), and Big Man (Donovan Session). There is a town-wide curfew of 7pm during snatching season – the time of year where no child is safe. Every parent tightens their hold a bit more – including Peaches (Brianna Buckley), a single mother who just wants to know that her kids will be home when she gets back from her late-night job. Is it a mysterious Creek Monster that is to blame? Or is there something even darker afoot? All we know is that children are going missing, and no one really knows where to turn.

Helmed by Burke, the creative team brings this play to haunting life with what can only be described as superb talent. Scenic Designer Sydney Lynne completely transforms the stage – with a swamp filled with dead trees that immediately plants the audience in this southern gothic mystery. Lighting Designer Eric Watkins certainly does not hold back – taking full advantage of darkness and shadows that heighten the spooky feel. Especially when combined with Original Music and Sound Designer Ethan Korvne’s work, you might find it tough not to completely let yourself fall into the ghost story unfolding before you. There were quite a few screams at this particular performance, and I know I personally felt the tension rising in my own body as the characters dug deeper in the mysteries surrounding them.

Now, what is it that is so frightening? The scenery certainly does the work to invite the audience into the story. The ensemble as a whole is quite strong – particularly Rush and Session. The brother/sister relationship they build on stage is incredibly relatable. No one quite gets under your skin like a sibling, but at the same time, no one quite has your back like one either. As we see the two struggle to be honest with each other about how much they might need each other, you might find yourself leaning in – wishing you could help spell it out for them – especially if you yourself are an older sibling. Seeing the stakes and what this family has to lose certainly adds to the fear.

However, more than any of that, Guest writes a story that is unfortunately quite relevant. We see the disappearances of children happen daily. We also see that there are differences in how these disappearances are explored based on who is taken and where they happen to reside. Perhaps Guest’s story is so terrifying because this happens to be the truth in which we live, and we have yet to find a solution.

Oak is the perfect play for a Chicago that is slowly moving into the fall season. As we inch closer to Halloween, maybe we all need a spooky little wakeup call?

HIGHLY RECOMMENDED

Oak runs through November 9 at Raven Theatre. For tickets and information, see the Raven Theatre website.

*This review is also shared on https://www.theatreinchicago.com/!  

It was 1982 in America when “Pump Boys and Dinettes” first premiered on Broadway. Developed by a band whose members worked at the nearby Cattleman Restaurant, the show is based on their experiences working there, but trasposed to a setting recalling the "good ole days" of the South (for some), through the lens of the staff working at the Double Cupp Diner. 

It doesn’t have much of a plot. But if you enjoy escapist theatre with a country western feel, this is the show for you. It was nominated for a Tony award for Best Musical, right along with “Dreamgirls," “Joseph and The Amazing Technicolor Dreamcoat” and “Nine." "Dreamgirls" won most of the Tony's and Pump Boys finished after 573 performances before disappearing into obscurity.

But in Chicago, it the musical has had a very different history. After opening in November 1984 at the Apollo Theatre on Lincoln Ave., it closed in July, 1989 after 1,976 performances and selling more than 600,000 tickets. So locally, its a known crowd-pleaser. 

But to be staged 30 years later, it was too much a product of its times. The Double Cupp Diner in its previous versions would never have made it into the famous Negro Motorist Green Book—a guide published by Victor Hugo Green to steer African American travelers to motels, restaurants and filling stations that would serve them in the South. As a Black man, I have admit a bias against the heart of the original “Pump Boys & Dinettes.” (How’s that for critical race theory?)

But Porchlight has updated the production significantly, with the people of color running the production and included in the starring roles. And the music 

The set for Porchlight’s production of “Pump Boys & Dinettes” is gorgeous. Going out on a limb, it’s probably the best set you’re going to see this season. Sydney Lynne’s 1950’s retro art deco diner and filling station is worth the price of admission. This set was so fully realized, I could smell the coffee coming from the kitchen. It is an explosion of color and neon lights. It’s all beautifully lit by Denise Karczewski, whose lighting design changes from song to song creating a different effect depending on the tempo and subject of the song. If you’re like me and you peek into a diner before going in, you would have noticed a picture of that country western star Lil Nas X hanging on the wall. I immediately knew this wasn’t my Grand-daddy’s “Pump Boys and Dinettes” – this was gonna be something different.
Under the direction Daryl Brooks, a name you may know from The Black Ensemble Theater, this cast gives a lively energetic jolt of life lessons, foibles and desires by way of country western songs. The genius of Brooks was casting an inter-racial group of people to play the pump boy and dinettes, thereby making it an American Musical .
Shantel Cribbs (Prudie) and Melanie Loren (Rhetta) are cast as The Cupp sisters proud owners of the Double Cupp Diner. Prudie, the more sentimental of the two sisters sings a torch song “The Best man” while Rhetta lays down the law with her firery “Be Good or Be Gone,” The two create a melancholy moment with the surprisingly tender song “Sister,” but not before explaining what it is a waitress want, “Tips.” These women have phenomenal voices and acting abilities. Th Cupp Sisters also provided percussion by way of salt boxes, washboards, pie tins, basically anything that is handy and could make a sound.
Not only does the boys pump gas and fix cars, but they are also accomplished instrumentalist. Ian Paul Custer on rhythm guitar as Jim, is our tour guide and leader of the Pump Boys. He engages the audience with his down-home charm whether he’s singing about “Taking it Slow” or reminiscing about childhood memories with his "Mamaw." On lead guitar is the handsome heartthrob Jackson played by the equally handsome Billy Rude. His “Mona “is a hilarious but sweet crush on a Walmart clerk. His energy is infectious as is his comedic timing. Rafe Bradford is pump boy Eddie. What makes Eddie such a fun character is he seldom speaks but says a great deal with his facial expressions while playing his bass guitar. L.M (Ladies Man) is the co-owner of the filling station played for everything it’s worth by Frederick Harris, a first-rate musical comedy actor. One of the funniest songs is done by LM. I won’t spoil it by giving it away.
“Pump Boys and Dinettes” is at its best when the entire company is working together. Thanks to Music Director Robert Reddrick , choreographer/Costume & Wig Designer Rueben Echoles and Director Daryl Brooks they work together beautifully. As a gift to the original creators, I suggest a brand new 40th anniversary cast album. This deserves to be heard more than once.
The Ruth Page Center for the Arts, 1016 N. Dearborn
Created by John Foley, Mark Hardwick, Debra Monk, Cass Morgan, John Schimmel, Jim Wann Directed by Daryl Brooks
Music direction by Robert Reddrick
Choreographed by Rueben D. Echoles
Thursdays at 7pm
Fridays at 8pm
Saturdays at 3pm and 8pm
Sundays at 2pm
Thru December 12th