Six Degrees of Separation
Review by Paige Listerud | Chicago Theatre Blog
WHAT IS THE POINT of being related to everyone else on the planet, if the daily connections between those one is closest to are thin, shallow, and brittle to the point of snapping? That is the central theme of John Guare's most famous play, Six Degrees of Separation, produced by Eclipse Theatre at The Greenhouse Theatre upstairs studio. Sadly, as proficient, or even inspired, as individual performances may be, a startling lack of contrast between what is and what could be in the relationships between various characters reduces this production to a flat, if interesting exercise.
L-R: Flan (Eric Leonard) receives a gift from Paul while Larkin (Joe Mack), Ouisa (Karen Yates) and Kitty (Rebecca Prescott) try to find Paul's father, in Eclipse Theatre's production of "Six Degrees of Separation” by John Guare, directed by Steve Scott. Perhaps this particular studio space simply cannot allow for enough varying levels of play. In scenes which require most of the cast, Steve Scott's direction clumps half to one side and half to the other, forcing an almost two-dimensional interaction, and reducing the actors to bodies onstage. Also, this ensemble play still lacks strong ensemble feeling. Characters may be distant from each other, but actors should not be; this play demands that the history between most characters be inferred from just a few lines.
Having said that, there's no denying the excellence of individual performances. Michael Pogues' portrayal of Paul, the young black man who dupes the upper echelons of New York society into believing that he is the son of Sidney Poitier , is subtle, knowing, and the high point of the production. Pogue is as much a dream weaver as his character and his performance is a joy to watch.
Ouisa's (Karen Yates) progress under Paul's inspiring, if illusory, influence is driven, engaging, and realistic. Ouisa may never be a Zen master, but she does move from shallow, materialistic social climber to a woman intrigued by the potential for expansive, more meaningful relatedness. The rapid-fire exchanges between Ouisa and her husband, Flan (Eric Leonard), whether about art deals, social machinations, or Paul's transgressions, are fun displays of technical virtuosity.
Ousia (Karen Yates) dreams about Paul (Michael Pogue) in Eclipse Theatre's production of "Six Degrees of Separation” by John Guare, directed by Steve Scott. What a pleasure to see Guy Massey (Dr. Fine) and John Milewski (Geoffrey) well-cast and exemplifying the complete embodiment of small roles. Michael Gonring also does a solid turn as the awkward, closeted young college student that Paul seduces to extract information on the upper classes he seeks to infiltrate.
However, at this particular moment, Six Degrees of Separation may demand more from younger cast members than the adults. Sadly, our palates have been jaded (if not utterly revolted) by a steady stream of obnoxious rich kids in dramas, reality TV shows, and as vapid celebrities in their own right. As of 2009, we suffer from over-exposure to the bad behavior of the celebrity rich. The greatest challenge, through acting and direction, is to humanize the parent-child relationships of the play and to individualize each young person's role, regardless of how few lines or how spoiled the characters are. Otherwise, the danger is that the audience will tune out and not care.
It matters because this is the background against which Ouisa evolves her relationship—or fantasy of a relationship—with Paul. The rapport that she and Paul creaL-R: Rick (Nick Horst), Elizabeth (Laura Coover) and Paul (Michael Pogue) celebrate exciting news in Eclipse Theatre's production of "Six Degrees of Separation” by John Guare, directed by Steve Scott. te during his desperate phone call to her, before his arrest, needs greater contrast with the connections, or lack of them, that Ouisa has with her own children and husband. Likewise, a stronger sense of history between her and Flan would lend body and contrast to the overall production. Every relationship, no matter how simpatico with regard to interests, has its irritations, its compromises, and its resignations. Ouisa's exposure to Paul magnifies what little Ouisa has settled for while she pursued having it all. Now, will she go on settling or will something have to give?
Link: http://chicagotheaterblog.com/2009/08/03/review_six-degrees_eclipse-theatre/Review by Rebecca Sarwate | Edge Chicago | July 30, 2009
Taking a break from its mission statement of "one playwright - one season," the Eclipse Theatre Company is winding down a two-year celebration of the first ten playwrights whose work has been featured by its players.
The salute's latest incarnation, a tribute to 2002's featured playwright, John Guare, is executed through an updated staging of his most famous work, Six Degrees of Separation.
The press materials distributed prior to the show bill the play as, "inspired by a true story...follow[ing] the trail of a young black con man who insinuates himself into the lives of a wealthy New York couple, claiming that he is the son of actor Sidney Poitier. Captivated by his intelligence and eloquence, the couple slowly discovers that not everything is what it seems on the surface."
Heretofore familiar only with the 1993 film version of the play, featuring Will Smith, I can confidently conclude that the above descriptor of Guare's work sells the drama way too short.
For Six Degrees of Seperation is about so much more than a shifty con man. The work asks us to consider what it means to be loved and trusted, especially at higher flying levels of society, the trappings of money and loneliness, and in the wise words of Ouisa Kittredge, played by Karen Yates, how we manage to turn our lives into a series of "anecdotes," as opposed to "experiences."
The story arc of the play is told in a series of flashbacks, a narrative of "anecdotes" that Ouisa Kittredge later calls into question. It is true that on a night that Flan Kittredge, played by Eric Leonard, is about to secure financing for the biggest art deal of his New York career, a wounded but seemingly harmless young man materializes on his doorstep.
Claiming not only to be a friend of Flan and Ouisa's college-aged children, but more impressively, the son of the most legendary African American man in cinema, Flan and Ouisa are taken in by the young man's charms, intelligence and good looks.
As the play continues, it becomes apparent that the offender has perpetrated his scam on a number of those included in Flan and Ouisa's inner circle.
Given small amounts of cash and access to some of the most fabulous penthouses and brownstones in New York City, it is only upon reporting the activities of Paul, portrayed by Michael Pogue, to the local authorities, that it becomes apparent to Flan and Ouisa that this is no ordinary crime. Because, as Ouisa rightly wonders, what has Paul really taken that wasn't his: respect, friendship, personal history?
And moreover, after cooking them a gourmet meal and assisting Paul and Ouisa with the landing of the two million in funds they require from their wealthy friend Geoffrey (played by John Milewski), perhaps he has given back far more than he has ever stolen.
As the action continues, Paul gets in deeper while eluding authorities. It is worth noting that it is only when Paul commits fraud against a couple of young, struggling actors, members of the lower middle class, that his actions begin to adopt a really pitiless quality.
It is a credit to Michael Pogue that he is able to convey Paul's sense of the line between harmless fun at the expense of the wealthy, and the theft from his trusting, but poor friends that lead one-half of the couple to take their own life. It is as though you can see the light go on in Pogue's eyes. $50 dishonestly borrowed from Paul and Ouisa does not equal $250 swiped by those who still believe in humanity, believe in their future.
Is Paul a sociopath or not? Does he really believe he is Sidney Poitier's son? Those questions are never answered, and in a way, are not as important as keeping Paul's dealings, and subsequently, Ouisa's unique emotional reactions to them, hidden.
It becomes apparent that Flan, Ouisa and their friends become "easy marks" for Paul because of their success, not in spite of it. Mired in tense marriages, distant from grown children who often despise them, it is not their money that Paul is after necessarily.
As Ouisa says near the end of the play, "he wants to BE us," nothing more. To bask in their attention, to lavish flatteries on them as caring parents, in short, to belong in a world that will not otherwise welcome a nameless, faceless, unpedigreed black man, it is Paul's "otherness" with which Ouisa ultimately connects.
The cast, led by the aforementioned Yates, Leonard and Pogue, are excellent. A few premiere night line flubs from Yates only make her own flustered state upon realizing just how well she relates to, and in fact loves Paul, the more believable.
The supporting cast, including Brandon Ford, who makes a bold mark on the production as "the Hustler," a trick brought to the Kittredge home by Paul, is first rate. His brief, nude chase scene becomes something darker than slapstick, and makes the victimization of the Kittredge family completely real.
Shown in the upper, smaller venue of the Greenhouse Theater Company complex, the limited space and seating are miraculously expanded through the crafty set design of Kevin Hagan. Using multiple dividers, fronts and maze-like set pieces, the stage feels every bit a spacious Manhattan co-op.
It is the audience that feels close, small and dark, mimicking the psychological unraveling of both Paul, and unlikely friend Ouisa.
Costume designer Kaitlyn Kearn gives a decidedly early 90s flair to the character fashions, which is appropriate in a time before Internet, email and Google, which would likely render the mystery of Paul's identity moot in the modern day. In fact, speaking only for myself, the play left me with a nostalgic yearning for the days before TMZ, when a little anonymity was still possible, and emotional exchanges played out in person or by phone, rather than instant message.
Link: http://www.edgechicago.com/index.php?ch=entertainment&sc=theatre&sc2=reviews&sc3=performance&id=92977Blue Surge
'Surge' works because of engaging characters
By Hedy Weiss | Chicago Sun Times Critic | March 26, 2009
In Rebecca Gilman's finest plays -- and "Blue Surge," now in a sensationally good revival at Eclipse Theatre, is high on the list of her best -- the notion of social class moves from being a theoretical abstraction or tax bracket identifier to becoming a profound psychological determinant in American life.
Forget notions of social mobility, Gilman tells us. The fix is in from early on. What might seem like small, easily camouflaged scars -- the result of having the "wrong" dress for a school dance or a subpar diploma (from, say, a community college) -- only grow thicker and more disfiguring with time. And attempts to deny this -- whether by education, the work ethic or an accepting relationship with someone more privileged -- rarely help heal such scars, and sometimes exacerbate them.
This is what "Blue Surge" is all about. But Gilman has devised such an engrossing, sexy, brutally honest (and very adult) drama that you never feel you are being lectured. Rather, she draws you in to what appears to be a fairly routine police drama, and then reveals what truly makes her characters tick.
It all begins in a massage parlor that has triggered complaints from a conservative coalition that objects to such an operation being next door to a popular family restaurant. Working undercover, two cops and longtime friends -- Curt (Kevin Scott) and Doug (Nathaniel Swift) -- take turns trying to gather compromising evidence against the place. Serious, tense and a bit awkward, Curt makes an unexpected connection with the stunningly beautiful, edgy and very young Sandy (Laura Coover), while Doug, a lackadaisical mischief-maker, messes up the job with the overtly slutty Heather (Sasha Gioppo).
Curt's long-held desire to get a promotion is undermined by the botched job. So is his serious but subtly troubled relationship with his girlfriend Beth (Kerry Richlan), an arts education teacher from a wealthy family who wants him to succeed on a level that approaches her own standards.
In an act of salvation that ends up being his own undoing, Curt, a decent man, tries to save Sandy from a life of prostitution. He also faces certain truths about himself and Beth.
Under Anish Jethmalani's insightful, crackerjack direction, Scott (in a wonderfully understated performance) and Coover (a petite blond knockout with star quality, who also is a sensational actress) create the perfect chemistry. Swift (who has a few moments of full frontal nudity) brings just the right mix of devil-may-care hedonism and sensitivity to Doug, with Gioppo just right as the flashy good time girl he quiets down. As for Richlan, she delivers the play's most crucial speech with every bit of clarity and self-knowledge it requires.
Yes, there is a big blue surge of sadness in this play. But in a strange way it leaves you buoyed.
Link: http://www.suntimes.com/entertainment/weiss/1495844,CST-FTR-Weiss26.articleEclipse's 'Blue Surge' is at home in smaller space
By Chris Jones | Chicago Tribune Critic | March 25, 2009
The playwright Rebecca Gilman came to the fore in a Chicago storefront theater—or, more precisely, a Forest Park storefront theater. The searing force of the 1996 Circle Theatre production of "The Glory of Living" lives with me still, but Gilman long ago moved on and up to the Goodman Theatre, the New York Public and London's Royal Court (among many other frequent producers of her works).
But in its ongoing exploration of this internationally accomplished scribe, the Eclipse Theatre has been making a very strong case that many of her plays work best in a storefrontlike setting.
The Eclipse production of "Blue Surge," a 2001 Gilman drama that went from the Goodman to the Public, is certainly a down-and-dirty, Chicago-style affair.
The set is a vague, rough-and-ready collection of walls, colors and shadows and, on opening night Monday, the lights seemed to be going haywire.
But this is a play about the white working-class—ill-educated young people trapped in a minor Midwestern city, haunted by dysfunctional parents and unable to get their acts together. In this play, most of the characters are either prostitutes (the massage parlor sits next to the Ground Round) or cops. When the latter are not arresting the former, they are becoming romantically entwined.
One of Gilman's main points is that these groups aren't separated by moral rigor or driving purpose but by expediency. Everybody went to the same high school.
This play looked rather too small for the Goodman in 2001, but in the tiny upstairs Greenhouse space, its truths ring a lot deeper.
None of this would be the case, of course, if Anish Jethmalani's production didn't come replete with some powerful Chicago-style acting. But it surely does. And these actors kick up some dust.
In the central role of Sandy, high school graduate turned flexible massage therapist, Laura Coover has all the right qualities, including a smartly sardonic style, a vulnerable core and bright eyes that suggest her character wants, and is capable of, so much more than performing sexual favors for $40. The other dead-on performance comes from the Eclipse veteran Nathaniel Swift, who cleverly captures the slippery sensibility of a just-getting-by cop, going nowhere and, luckily for him, at peace with his own total lack of ambition.
As the play's authority figure (and upper-middle-class interloper), Kerry Richlan is shrewdly patronizing, and there's also solid work from Kevin Scott (as the cop who gets too emotionally involved) and the colorful Sasha Gioppo (as a working girl mostly happy to be working).
The times have caught up with "Blue Surge," a play that, in 2001, was prescient enough to observe that the recession started much earlier in the decade for some sectors of the population.
Link: http://www.chicagotribune.com/features/lifestyle/chi-0325-blue-surge-eclipse-ovnmar25,0,5462823.story