Displaying items by tag: Anthony Hinderman

Sometimes tragedy is so extreme, our only response is to be driven to distraction – like that character in a graphic novel pushed off the edge, laughing in the abyss. Or think of the performance of Joaquin Phoenix in The Joker.

A work springing from this sentiment is playing live on stage, at the Athenaeum Theatre, in a new production format called “The Style,” a unique performance vernacular developed by The Conspirators. Every element – writing, directing, ensemble performance, music, set - brings something you will likely not have seen before.

The play is Accidental Death of a Black Motorist- the title alone both suggestive and incendiary. What happens on stage is even more so, with a truly barn-burning performance by Anthony Hinderman – a recent arrival to the Chicago scene and now an ensemble member in The Conspirators. (I am already grieving the likelihood this guy will soon be scooped up by New York or Hollywood.)

The roots of this work are heady, drawn from Italian Nobel laureate Dario Fo’s absurdist Death of an Anarchist. Writer Sid Feldman, who has adapted it into a precise Chicago argot, justifiably claims script credits, having updated the original to a relentlessly witty, laugh-rich brew that will leave you breathless, and powerfully impacted. 

In a nutshell, the story tells of a Chicago police crew who have arrested a man for “driving while black,” (we never see him). "The subject was driving too nice of a car for that neighborhood," explains the arresting officer in his broad Chicago accent. 

The victim somehow ends up jumping to his death from a fourth floor police station window during questioning. Feldman has transmogrified these hapless cops into a witless crew that is unable to develop its own cover story to avoid liability for the innocent man’s death. 

Then comes the subversive Actor (Anthony Hinderman) who re-enters the scene (he had earlier been arrested for a minor infraction but skipped out) and now convinces the police he has been sent by the court to help them clear their names. Crafty as a grifter, The Actor transforms into several characters, but the cops don’t catch on. As Actor reads through the police report he ostensibly helps them generate alibis for their inconsistencies, but once they commit to one of his proposed covers, he lets them see the new story won’t fly under questioning either. 

Detective Berkstra (Nathaniel Fishburn), speaking in heavilyinflected South'side, complains,  "You said you were here to help us, but all you've done is cast doubt on everything we say!" 

Hindeman brings a extraordinary plasticity to his facial expressions. Coated in pancake and heavily made up, he grimaces and mugs for all he is worth. 

The technique used in the show is “The Style,” which The Conspirators describe as a distilled amalgam of the 16th century Italian Commedia del Arte style, with “influences like Kabuki, Kathakali, Bugs Bunny, and a high-energy punk-rock aesthetic” that is like “a coke-fueled clown nightmare.”

Abandoning any semblance of naturalism, the actors are done up in grotesque makeup, with stylized movements punctuated by very expressive percussion as commentary. (Sarah Scanlon played the night I saw the show.) Footlights illuminate the stage in a stark glare, perhaps off-putting at first, but mesmerizing soon enough.

You may fear for Hinderman lest he be immolated in the blaze he sets on stage, but so too the rest of the troupe, who have clearly drunk whatever cool-aid The Conspirators are mixing. In fact, the cast really becomes one actor. Every performer amazes – Kate Booth as Detective Bertowski, Nathaniel Fishburn as Detective Berkstra, Ali Janes as TV newscaster Madison Boan, Nicole Frydman as Chief of Police, and the list goes on.

I sought out this play after a friend mentioned their previous production, The Deckchairs, or, Make the Titanic Great Again. (That one tells what happens on board after an iceberg denier is elected captain of the unsinkable ship.)

Wm. Bullion directed this unique show, which uses its special forms and styles to cast a fresh light on the social injustice it addresses. Far from dreary, it is truly liberating. Accidental Death of a Black Motorist runs Thursday, Friday and Saturdays through November 23 at the Athenaeum Theatre, 2936 Southport on Chicago.