Displaying items by tag: The Artistic Home

Before he was Twilight Zone’s scriptwriter and frontman, Rod Serling broke through with the 1956 teleplay of Requiem for a Heavyweight, a powerful noire telling of a boxer on his way down. This work was originally broadcast live in black and white, and starred Jack Palance, Keenan Wynn, and Kim Hunter. In those days it was performed just once, and in this case the lone recording is of moderate quality. 

Putting such a teleplay onto the stage is transformative for the work. The audience is not limited to the camera’s viewpoint, but it tests the writing and of course, the performances. We can report that Artistic Theater’s production is absolutely first rate – first and foremost because it is very well cast, with a staggeringly good performance by Mark Pracht as Harlan “Mountain” McClintock. Pracht seems born for this role, as he is both a mountain of a man, and carefully expresses Serling's portrait of a Tennessee country boy who has taken way too many punches.

This is also a tragedy, in the Greek sense – Mountain had risen to become a contender for world heavyweight champion, but began to decline before he could get there. Like any tragic hero, he is thwarted by an antagonist: his manager, Maish Resnick (Patrick Thornton), who has skimmed profit from Mountain during his rise. Now as Mountain loses more than he wins, Maish plays a deceitful game – which creates the turning point in the play’s resolution.

Thornton is full throttle in this role, playing convincingly enough that you will come to loathe him. But even more forceful and compelling is the performance of Todd Wojcik as Army, as Mountain’s trainer and constant wingman. Wojcik’s performance is freighted with emotion and empathy, and will touch your heart.

There are a several other colorful characters in this cast, hustlers on the make that Serling drew from his own experience as a boxer. And we have a chorus of lower-level boxers and trainers, and thugs. These characters enact stylized boxer training interludes that are very powerful. And though each has a small part, it makes for a stunning effect overall. The set is a simple canvas platform – the ring – and the audience is seated around it, in a very intimate space.

There are just two female figures in Requiem, and both seem bound to be stereotypes of a 1950s male psyche: Golda (Laura Coleman), a “dame with a bad reputation” and Maish’s main squeeze. “What are you doing vertical; is there a recession on?” Maish asks her, in a reference it’s hard to imagine got through the censors.

The other female role is more substantial – Grace Carney (Annie Hogan), an employment agent who falls for Mountain as she tries to help him transition from boxing to something new. Hogan’s performance mines the role for all the meaning it can bear, and she is a strong heroine against the dastardly Maish. Her character in Requiem for a Heavyweight foreshadows another woman who supported Rocky years later.

The teleplay was influential enough to warrant a British TV version starring Sean Connery with a cameo by Michael Caine, and was turned into a 1962 film featuring Anthony Quinn in the lead. As a genre, teleplays are memories, but perhaps they foretold Netflix and Amazon movie productions. Teleplays have been tremendously influential – think of 12 Angry Men, Marty, The Days of Wine & Roses – all originated as live television productions.

Requiem for a Heavyweight is a great show, and a theatrical event. Running through March 31, there are just 50 seats per performance, so it is highly recommended you plan to attend at The Artistic Home on Grand Avenue in Chicago. 

Never has there been a more relevant time for Paula Vogel’s 1998 Pulitzer Prize winner ‘How I Learned to Drive’. By now, it’s considered a modern classic and has certainly made Vogel a hot playwright ever since. The fact that this play is now twenty years old and is arguably more topical now than when it premiered is unsettling. The Artistic Home Ensemble is reviving this play in hopes that we don’t have cultural amnesia regarding sexual abuse.

‘How I Learned to Drive’ is simply staged. There’s a few seats on a platform to be the car, and then a few other small set pieces here and there. What’s not so simple is Vogel’s narrative structure. This is almost like a personal essay come to life. Non-linear, or non-traditional structure is a hallmark of Vogel’s work. In this play, Li’l Bit (Elizabeth Birnkrant) relates how her uncle taught her how to drive and also taught her about adult love.

Using driving and cars as a structure, Vogel spins Li’l Bit’s story about growing up in 1960s conservative Maryland. Intermittently, she includes cleverly constructed nuggets of sexual wisdom learned from her mother and grandmother. As Li’l Bit matures into a woman, she notices how the world around her changes. Her Uncle Peck (John Mossman) takes advantage of her isolated feeling. What adds layers to a familiar story are the moments when Li’l Bit initiates or at the very least plays into a pedophile’s hand. There are such moments of tender depth that you nearly forget how illegal their affair is.

With an almost absence of scenery to hide behind, Elizabeth Birnkrant plays to the comedy in the script. She’s often more engaging to watch when she’s portraying Li’l Bit in her teenage years. Adults are quick to forget the agony of being so unavoidably vulnerable. Mossman delivers sex appeal without seeming like a predator, which is what makes his performance all the more slick.

It’s tough to bring much character to the “Greek chorus” as their purpose in the play is mostly to pipe in with mortifying one-liners. Though, Jenna Steege distinguishes herself as Li’l Bit’s heavy smoking mother. She provides some pretty sound advice on how a lady (or anyone) should drink on a date.

Artistic Home Ensemble is a storefront theater that specializes in the Meisner (or method acting) approach. Therefore, their productions tend to rely more on character than set pieces. ‘How I Learned to Drive’ perfectly lends itself to director Kayla Adams’ black box vision. This story is so compelling that you don’t need scenery. The images conjured in Vogel’s script are as familiar to us as a Coca Cola ad. It’s a trip through Americana, which fittingly includes an older man taking advantage of a young woman. It’s an odd thing to comment on the chemistry between a pedophile and his victim but since the actors are both around the same age, it seems okay to say. These two seem very comfortable with each other and that makes the seduction all the more tragic. ‘How I Learned to Drive’ tells us what’s old is new again, but a 2018 audience may ask itself, does it have to be?

Through May 6 at The Artistic Home. 1376 W Grand Ave. 866-811-4111