Displaying items by tag: Jess Hutchinson
It’s Mad, Beat, Hip, & Gone, and Here’s Why It’s Worth Watching
Promethean Theatre Ensemble has brought to stage a very good production of Mad, Beat, Hip & Gone, a play that is a riff on the Beat Generation literary movement – specifically drawing from Jack Kerouac’s 1957 novel, On the Road.
The script by Steve Dietz (Private Eyes) adopts aspects of the free-form writing style Kerouac called “spontaneous prose." Some of Kerouac’s works were drafted in days-long, Benzedrine-fueled writing jags. He famously typed on paper rolls fed continuously through his Underwood typewriter.
Kerouac’s On the Road tells of two young guys thumbing westward in the late 1940’s, on the make, and in search of themselves – aiming to join the Beat’s congregating in San Francisco. (These two guys would be the real life Jack Kerouac and Neal Cassaday, his buddy and fellow writer.) Like Hemingway before him, Kerouac also brought a macho flair to the pursuit of writing – he was a college football star and outdoorsman.
Mad, Beat, Hip & Gone similarly tells of two buddies who have recently graduated from high school in Nebraska – Danny Fergus (Pat King) and Rich Rayburn (Michael Vizzi), who end up on a similar sojourn, but for very different reasons. We meet the boys on their return from a local bar, where Danny was thwarted in his effort to pick up a girl when the real Jack Kerouac (unseen in the play) wows her with some spontaneous poetry – and gets her phone number. "What's the deal with guys like that," asks an astonished Danny.
On the Road is widely considered a seminal work of 20th Century American literature. Artists including Bob Dylan, Patti Smith, and The Doors credit Kerouac as a significant influence. And successive generations continue to rediscover Kerouac’s accomplishment in this and other writing such as Dharma Bums. Kerouac incorporates stream of consciousness, but with a sufficiently structured plot to bring us along on a story line.
Dietz trades on Kerouac’s tone, but delivers an interesting plot line to hold our attention – working in the back story of Danny and Rich to create a motivation as they depart on a road trip very much paralleling Kerouac’s, but for more personal reasons. (We’ll avoid a spoiler here.) Dietz also captures the post-World War II world where young American’s were hungry for purpose, and seeking themselves.
You don't need to know Kerouac at all to like this play. Dietz has mined the times and developed characters who express the views Kerouac would recognize.Danny's father, Albert Fergus (Ted Hoerl) who runs a gas station, hold's forth on automobiles and their role in the American dream. He sounds poetic, like Kerouac, calling the gas and car a sacrament.
"A car was a little house you could take along with you," he says. "In a house, your window is your fate. In your car, your window is your vision."
Kerouac, along with poet Allen Ginsberg’s Howl and William S. Burrough’s The Beat Generation were the seminal literary expressions of non-conformist movement that came to life after World War II, accompanied by free-form jazz, drug experimentation, and sexual liberation. This evolved into the hippie movement, and the continued streams of social change (and reactions to these changes) that brought us to our charged contemporary social landscape.
Dietz uses poetic language that harkens to Kerouac’s style, which doesn’t always provide literal clarity. But it works.
He also injects (a welcome anachronism given the period of Mad Beat Hip & Gone) a strong female character - Honey Vance (Hilary Williams) – who like the boys is searching for personal answers by hitchhiking to San Francisco. In Dietz’s storyline we are faced with the unconscious machismo that characters like Kerouac (and anti-heroes of the period like James Dean) represent. We also get some choice "Mrs. Robinson" moments between Danny’s mom, Mrs. Fergus (Elaine Carlson) and Rich – well played by Vizzi and Carlson. I especially liked Ted Hoerl as Danny’s Dad; and Hillary Williams’ peformance was excellent.
Strong performances and a script that channels Kerouac make this worthy show, definitely recommended to get a flavor of the period and a sense of how the Beat Generation was greeted by middle America. Promethean Ensemble’s Mad, Beat, Hip & Gone runs through June 1 at The Edge Theater Off Broadway, 1133 W Catalpa in Chicago.
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