Displaying items by tag: Caleb Lee Jenkins

“Galileo” written in 1938 by German playwright Bertolt Brecht, tells the straightforward story of the 17th century physicist and astronomer’s run-in with church authorities for asserting that the earth revolved around the sun. For this Galileo, played with Brechtian finesse by Trap Door’s David Lovejoy, was hauled before the Roman Inquisition, and threatened with torture until he recanted.

Brecht’s play centers on how this conflict played out in Galileo’s personal and professional life, and his final years under house arrest under the watchful eyes of the authorities. Galileo was torn between unfettered scientific assessment of the world, and his need to make a living. Even before the play opens, director Max Truax has Lovejoy’s Galileo seated, nearly naked, facing away from the audience posing in contemplation, reminiscent of Rodin’s famous sculpture. Throughout the scenes that follow, Galileo’s nakedness seemed to represent the periods when he was thinking most freely. He seemed to be dressed when he was engaging the public or the authorities.

But the style of Brecht’s script for “Galileo” is not naturalistic - this version of the script was the second, written in English with Charles Laughton who starred in it in 1947 - and the audience is distanced from the characters who dwell with him: Galileo’s daughter Virginia (Genevieve Corkery), his protege Andrea (Shail Modi), his student Ludovico (Caleb Lee Jenkins), and a character, the Inquisitor, who is present throughout. Brecht wanted audiences to be unattached to the emotions of the characters, so they could focus intellectually on the story and the social values he wanted to convey, a style known as Epic.

Lines are repeated multiple times with different emphases. At certain points, the actors address the audience directly, breaking the fourth wall, said to be another technique favored by Brecht. The Inquisitor (Joan Naid) who is blindfolded in early scenes, at times seems more like a spouse to Galileo in the household.

Lovejoy’s performance of Galileo is described by Trap Door as “a humanizing portrait,” and he is in this respect distinct from the other characters on stage. One example: when his daughter Virginia’s betrothal is threatened by Galileo’s branding as a heretic for his work, she registers no emotion. We simply hear the facts of the matter. Lovejoy’s performance is intense, and a remarkable achievement overall: and he is on stage every minute of the two hour show. Also notable is Modi as Andrea, a character with whom I was able to connect. 

I can’t say I am a fan of Brecht, and am always surprised that he continues to be popular among troupes and actors. For me Brecht takes a lot of work to appreciate and enjoy. But “Galileo” has remarkable currency for our times, as the retreat from modernism finds factual science and the age of reason under attack by the authorities. For this concern alone the Trap Door production of “Galileo” is valuable. Kudos to Merje Veski for stage design and Jonathan Quigley for projection design that gives us synopses of historical contexts at key moments.

“Galileo” runs through June 14, 2025 at Trap Door Theatre, 1655 W Cortland St. inChicago. Tickets are now on sale at trapdoortheatre.com

For the final show of its 30th anniversary season, Trap Door Theatre—the little company that could—has selected a sure-fire hit with a production of “Nana,” a play based on the 19th century melodrama about an actress and bordello courtesan, Nana, by French author Emile Zola.

Adapted for the stage by the late Olwen Wymark, and co-directed by choreographer Miguel Long and managing director Nicole Weisner, this reimagining of the original 2002 production at the tiny theater—tucked away behind a restaurant at 1655 W. Cortland—was flawless on opening night. It’s a cabaret style musical, and the premise of the story gives us a Parisian cabaret that doubles as a bordello, allowing occasions for song and dance that fit the storyline perfectly.

As the audience arrives, the actors are already in character, welcoming us as patrons of the establishment. At curtain time, the anticipation builds among onstage patrons—mostly emotionally overwrought, palavering males—all hoping for a glance of recognition from Nana when she arrives.

After this artful build-up, which heightens the expectation of the audience as well, drapes are snapped opened for the big reveal: Nana (Maryam Abdi is miraculous) emerges on a swing as a vision of Venus—long blonde tresses, and a gossamer robe opened to barely cover her breasts, minimally hidden by glittery clamshell pasties. It’s all very nineteenth century, and the men fit exactly in our expectations of swooning romantic gestures salted with salacious innuendo.

Amber Washington in "Nana"at Trap Door Theatre through May 19. 

We also meet the coterie of sophisticated ladies in orbit around Nana. There is Sabine (Amber Washington) just too too, all wrapped in a gorgeous gown and chapeau, waving a cigarette holder while delivering bon mots and pithy observations. And her dresser Zoe (Emily Lotspeich), who carefully manages the arrivals of suitors, parceling them out to every room until Nana’s apartment is filled. And Satin (Emily Nicholson), Nana’s BFF and occupying the same role, just at a lower echelon than our diva.
The song and dance numbers were quite good, and flawlessly performed.

Dan Cobbler, Emily Nichelson, and Emily Lotspeich in "Nana" at Trap Door Theatre through May 18, 2024.

Always in need of cash, Nana is pursued by a chorus of snarling creditors, who snarl in unison, to powerful effect on stage.Yet there is a substantial core to Zola's story: Nana, as she rises in stature as the object of desire for wealthy men, extorts them in their ardor, then walks all over them when their funds are depleted. She does this with greater rapidity, yet their generosity never falters. For example, Steiner (David Lovejoy is terrific) has given her a country retreat amid a high society and royal enclave, yethe never receives thanks or very much of Nana’s attention, who only escalates her demands for cash and orders this paramour to surrender his own key to the house he bought for Nana.

Indeed, Nana plays all her many suitors to the limit, relenting only enough when she senses she has pushed too far, an incredibly adept dominatrix.

Yet amid all this, Nana has a private life, and we learn where her earnings go. She retains her maiden aunt (Tia Pinson is the essence of propriety) to care for her infant. And she also has a significant other, Fanton (Caleb Lee Jenkins is the playful, yet mercenary scoundrel). We soon see that Fanton does to Nana what she does to her suitors, though far worse, as he is also physically abusive.

Nana, whose reputation has preceded her, is rejected by the "polite" society around her country home, though local suitors visit surreptitiously. And ultimately, Nana  meets her fated downfall in full expression of melodramatic justice. 

Costumes (Rachel Sypniewski) are spectacular, as are wids (Igor Shashkin) and make-up (Zsofia Otvos). Most amazing in this Trap Door Theatre production is the performance of Maryam Abdi as Nana. Abdi dominates her suitors, and the stage. She is fully in the role, inhabiting Nana’s character in a star-is-born delivery that would fit comfortably in an Off-Broadway, or even Broadway. So too for the entire cast. The Trap Door Theatre has outdone itself with “Nana,” a jewel in its 30th season celebration. “Nana” runs through May 19 at Trap Door Theatre, 1655 W. Cortland St. in Chicago.

*Extended through May 25th