About five or six years ago I was on the phone with my Uncle Patrick who had then just moved back to Ireland for good. It must have been Christmas or some such day. “How is Ireland” I asked. And he responded, “It’s the 51st state in the Union.” And I knew what he meant. The Irish had become more like Americans because of the Celtic Tiger which is to say disgusting fatties who live beyond their means. That is not exactly true, mostly because we are super fat here, but you get my drift. The Irish were paying outrageous sums for property and were so entrenched in a bubble it didn’t seem like a bubble to them at all. USA! USA! USA!
And overspending isn’t the only thing that was lapped up like so many foamy heads off a pint of Guinness. The Irish were also ingesting our culture, for like the last 20 years or so. I will only mention programs and films (pronounced fill-im, with two syllables) Irish people have mentioned to me, so below is not a scientific list.
The Simpsons
Good Fellas and Martin Scorsese
Reservoir Dogs and Quentin Tarantino
Desperate Housewives- Yeah. Desperate Housewives. I know it looks like it doesn’t belong but it is a huge money maker. I wish it was The Wire.
I think the first three on the list were big deal things over here, too. Good Fellas is a big one for anyone and I know plenty of people who still talk about and quote that movie. Same for the Simpsons. And Reservoir Dogs. Way cooler than quoting plays. Cool as Pinter and Shakespeare are, you don’t pull out of their zingers at a bar. And if you do, you deserve a wedgie the size of the mighty state of California, I tells ya’.
You know who else is fun to quote? Your own family, if your family is colorful. And playwright Martin McDonagh must have come from a colorful family. Everyone knows his tale by now and if you don’t then you can look up the details online but basically he had Irish parents who moved him and his brother to England so they could find work (so Irish!). Then, when he was 16 or so, his parents moved back to Galway, the best county in all of Ireland, and left his brother and Martin in England. Long story short, at a very young age, Martin McDonagh became one of the most famous and produced playwrights of the our time by writing a series of plays about rural Ireland, most set in the West, in Galway, if I’m not mistaken. Until Tuesday, I had only been to see THE PILLOWMAN, at Steppenwolf and then again at Red Twist. So, I was keen to see THE CRIPPLE OF INISHMAAN performed by the (I heart) Galway’s Druid Theatre Company for dirt cheap. Both the influence of Scorsese and Tarantino can be seen in the piece and that is news to no one. Everyone knows this cat is totally influenced by those cats, and if you don’t you haven’t read a thing about theatre in the last 10 years.
The cripple’s name is Billy who lives with his two spinster Aunites, who own a shop. He hears of a film being produced on the Aran Islands and hustles a lift from BabbyBobby Bennett in an effort to break into show business. And he ends up going to America, leaving his Aunties and the towns folk behind. Do you really not know the story here? I knew the story and I really have no idea how; must be from several reviews, read throughout the years. More than anything, this is a play about small town life with your neighbors and gossip serving as the only form of connection or entertainment. It’s about the oppression of your ability to change because of your community and the comfort the routine that community can offer.
I had always heard that McDonagh plays made fun of or showed disdain for Irish people. And, I didn’t find that to be true. The characters and situations are crafted with care and the language is super fun. And to me, as an Irish American, with only one Aunite and one Uncle not born and breed in Ireland, totally familiar. There is a celebration of language and rhetoric going on in this play. And the timing in the lines and set ups is really rock solid. This is the work of an insider.
What surprised me the most? Is what a well-made play it is. This is what the new, hot, British bad boy has to offer the canon of plays about Ireland? This completely playing within the rules effort? I expected, from what I have read about him, more cinematic element because of what he said about his own plays being cinematic but no. There are long scenes with plenty of repetition and solidly placed exposition with a few highly organized twists so the audience doesn’t get lulled into the complacency felt during most ‘play plays’. There’s nothing truly absurd. I mean, there is a flavor of it with some Beckett-ey stuff with the Aunites, but when you compare it to actual Beckett it still seems like realism. There is no magic realism or jumping between scenes and conversations. It’s almost old school.
And so is the staging. This is a ‘lights up lights down’ thing with blackouts. When was the last time you saw an honest to god blackout, Chicago. I know. We don’t do them anymore. They're out of fashion and most of the theaters we go to or produce at need the actors to move the scenery so everyone figured might as well make it part of the thing. Put an old song in there or have the scene change while the next scene is happening. I really liked the play and the production. I was always totally engaged and with the play.
The acting was superb. Take that with a grain of salt. I mean, I do think the acting was incredible but part of that was the authenticity of the performances. I’ve seen some Irish plays around town and heard some Irish accents and, well, accents are hard. They seemed to be using their own accents, too. I mean, they didn’t put on any old school accent. The play is set in 1930’s Ireland, before outside influences really had a chance to affect the way the accent worked. Are you still awake after that boring bit about the accents? I hope so because one of the actors was in RETURN OF THE JEDI. Heard of it much? His name is Dermot Crowley and he played JohnnyPateenMike which is sort of like a Tyler Perry House of Payne version of the town gossip Irish bachelor who lives with his mammy but he is also a HILARIOUS creation and he was played HILARIOUSLY by this Dermot Crowley, who, by the way, was also in OCTOPUSSY. The Aunties were played by Ingrid Craigie and Dearbhla ‘fancy pants Grammy nominee’ Molloy and they were hilarious, too. Tadhg Murphy played the cripple fella and holy cow I may have seen him in the Abbey’s production of THE IMPORTANCE OF BEING EARNEST a few years ago in Ireland. Or did I see that at the Gate? Anyway, he was adorable and charming and had a sweet voice and an unrelenting limp. If you can, get tickets to this. You get a free ticket to BLACKWATCH, performed by the National Theatre of Scotland. Boy oh boy, that play looks good.
A-
-Anita Deely
Every year the heat is on! We are proud to present for 2011, the 10 Women of Chicago Theatre.
Ann Sonneville - Ann’s that girl that you wish was a total bitch, because she’s so awesome you want to Source Code her boyfriend.
Sarah Rose Graber - This eternally happy woman may make you mad about your own depression, but her positivity is only outweighed by the sheer number of plays she does.
Katie McLean Hainsworth - I put Katie in that category of women who would totally be cool with dressing in a Princess Leia bikini for her man.
Kate Harris - Kate is that 42 year old hussy you all wish you were. She steals shows and gets naked sometimes and still gets parts written for 27 year olds. 
Nikki Klix - Not only is Nikki about as sweet as a bucket of pie, she also sings and acts and plays an orchestra’s worth of instruments. Think about that the next time Megan Fox gets cast in something. 
Lindsey Barlag - Ever heard of a little play called “CHERRYWOOD”?! She was the broad in the bathroom. Stop fronting on Lindsey Barlag, ladies.
Greta Honold - Greta is an anagram of great. Greta was great at getting us this awesome party at Chicago Shakespeare and she’s really attractive for a young, thin, blonde girl with everything going for them.
Madeline Long- Maddy Long is bringin' it, y'all! With her kitten face and cool French accent, she is incomparable among kittenfaced French chicks.
The other day I was checking my spam folder and between ‘V1agraCialis Sale’ and ‘Remove Unsightly Weight’, I found ‘Eric and Andy’. After the other two e-mails provided nothing of interest I opened the Viagra e-mail and found a request to write a testimonial for ‘Eric and Andy’.
I suggested using the same testimonial I had written for the NSA/CSS or the verbiage from the restraining order, but they wanted something new, and less than 350 words.
So, where to start? I first met Andy in the process of writing the seminal piece of western-ghost-epic-coming-of-
More recently, I have found myself to be the lucky director of THEATRE WARS, a game show at Strawdog that pits theatre company against theatre company for bragging rights, and ad space. THEATRE WARS has an extremely energetic and talented group of collaborators, amazing guests, and Andy, at the center as the host, sucking all of the energy, talent and amazement from it like The Black Hole (the 1979 Movie, not the make-believe science thing).
As for Eric. I met Eric during Strawdog’s production of RED NOSES, I think he was playing someone’s uncle, maybe his own, and he seems like such a good man, but that probably says more about his acting skills than his personality. Whenever I think of Eric Roach, his kindness, generosity of spirit, and talent, I am reminded of the age old Chicago Theatre Question: Why is Joe Janes still working with Don Hall? Eric. Joe. Wise Up! I will say this about Eric, I am certain he is smart enough not to let Andy hold the baby, or his child.
So, Eric and Andy: They are Jokers, Jesters, Tricksters, and Fools, and in all the best ways. In a community that can get pretty damned caught up in its own self-importance, it’s nice to have a fool or two around. So read what is posted here with a grain of salt, and your other cheek pre-turned. And if someone could get back to me on the whole ‘Joe Janes’ thing I’d appreciate it.
-Hank Boland
In theater, like anything else, first impressions go a long way. I have never seen a Right Brain Project production, but I know they have worked with talented people in the past. In “My Filthy Hunt,” written by Philip Stokes, and directed by Nathan Robbel, this is no exception. The show features Erin Orr, Bries Vannon, Emma Peterson, and Greg Wenz.
The Right Brain performs out of a black box studio on the 4th floor of an old industrial building on Irving Park and Ravenswood. The Mammals also occupy this space, so I was expecting low hanging pipes, makeshift bathrooms, and underground, challenging theater. I was right on most accounts.
Upon entering, I was directed into the 80 year old one person elevator and told to take myself to the 4th floor. If you are doing a show called “My Filthy Hunt,” that’s a good way to set the mood: place your audience in harm’s way right from the get-go.
Upon entering their space I was surprised and pleased with the set up. A small space, they have made in hospitable and interesting. They have comfortable seating, art hanging from the walls and ceiling, and $2 PBR and wine don’t hurt, either.
The space itself is a shoebox, but that is what an actor craves: no bells and whistles, just human beings telling stories, and that is what “My Filthy Hunt” is. It is the story of 4 very different, flawed, and haunted people, all connected to one man, Marvin (who never appears onstage), who picks them up at their lowest points, and touches them in a profound way.
The actors play multiple characters as they speak of their pasts and what horrors and painful episodes they’ve experienced. Moving from nasty childhood bullies, to violent or absent parents, to suburban busybodies, the actors do a great job of creating the backdrop for each character’s life story. Their only saving grace is Marvin’s kindness and honesty, but when a turn of events brings the 4 together, they are forced to deal with each other and themselves, and what has happened to the man they care about most.
This was the kind of theater I dig because it was unconventional, challenging for the performer and audience, and fast. The performance came in under an hour, and asked the actors to push themselves emotionally and physically. Pushing each other’s buttons, tossing each other into walls, and screaming at each other ( which I usually hate, but that’s because most of the time there’s nothing behind it) turned to embraces, affection and moments of encouragement.
I want to see theater that reaches me, but doesn’t try to trick me. In a difficult script, with little more than a coat rack onstage, there leaves little to hide behind. RBP has done a good job in creating a production that lets the actor be honest, and doesn’t placate the audience.
If you like off-beat, challenging theater, check out this show.
A.
Johnny Mo.
Please forgive me for interrupting your web-browsing, but I couldn’t help but wonder which play you were planning on seeing this weekend.
Please forgive me for speaking so boldly, but I think there is very little in this world more wonderful than a theatre patron hunched over a keyboard with a furrowed brow.
I thought, most likely, that you are purchasing a ticket to Wicked even though you have seen it several times. Wicked will be waiting to embrace you next Friday at 8pm. It will be warm, large, and loud. You will breathe deep and tell Wicked you have returned; you could not stay away. Wicked will say that you did not need to buy a ticket and come back. There are plenty of people in its vast auditorium to keep it company. But you will not listen. And Wicked will smile because Wicked knew you could not stay away; Wicked will be happy. You will cry. You will hum along. You will buy an original cast album at retail.
As you walk through the parking deck in a post-show daze, you will wonder why the Ozdust Ballroom didn’t sparkle like it did last time. Was Elphaba’s skin a little duller than it used to be? Did the flying monkeys not jump as high? Did they use non-Equity actors?
As you ponder these questions, you jump at the sound of a BMW squealing ‘round the corner, headlights and horn blaring, and realize you are alone. The love you felt was empty. Wicked only wanted one thing from you and you let it take it, you hussy. It was just so…so…predictable. You feel cheap, wounded. Dropping your keys, you lunge towards the purple-level elevator and press DOWN.
Emerging from the glass doors of the deck, the sting of incandescent light threatens your eyes with pin-pricks of orange mercury. Shielding your face and running east down Randolph, you stumble into the doors of the Puma store and pound for help. They’ve only just closed, though, and a pleather-clad twentysomething sneers at you as he extricates the store lights with a snap of phosphorescence.
You’re cold, now. Winds from the lake buffet your head and sneak down the collar of your shirt, rumbling through the poly-cotton tent. Strangers’ eyes sweep your sorry limbs, and look away. Still stumbling, you trip at the corner of Wabash and Lake, catching a mouthful of oil-drenched pavement. Reeling, you curse your own sorry lot and wait for the reprieve from this cruel world.
The L rumbles overhead and a shower of sparks dancing down the steel girders briefly illuminates a flapping corner of paper. Dragging yourself into the gutter, you peal back the triangle to reveal a squared, white leaf of gently penned script. Pulling the letter toward your uncertain eyes—catching the intoxicating aroma of sandalwood, vanilla, tea-tree, lemongrass, oak, and applesauce—you read:
Please forgive me for interrupting you, but I couldn’t help but wonder what you’re doing down here.
Forgive me for speaking so boldly, but there is very little in this world that is more wonderful than a theatre patron sprawled in a gutter.
I thought, most likely, that you came from a show that loved you very much. I hope it was a show full of hope. Did it stand with you on a balcony and share a sunrise? Were you asked to consider whether or not your fears could hijack an honest moment of bliss? Or if those same fears could be drowned for a bit with the water of an orange can?
I hope the show you saw asked you to believe that a gentle phantasm can firmly give us strength and insight to deal with the delusions we pollute our minds with. I hope the show you saw taught you to enjoy quiet moments. I hope it made you bold at cafes. I hope it taught you that pants are important. I hope it had Rob McLean in it.
So, please forgive me for interrupting you, but you see there is very little in this world that is more wonderful than a theatre patron sprawled in a gutter. If you saw a show that loved you like that…it must have been Wicked! Have you seen that thing?! Man, that thing is awesome!
A gentle pulse of blue decorates the underside of the L tracks as a mustached policeman stoops over and asks if you’re ok.
Yes, you say. Yes.
You stand. You wipe off your face, and head north.
The 13th of Paris: A-
-John Taflan
The winter will last as long as it likes, and it’s looking like that is way too long this year. While we can’t change the weather, we can at least pretend it’s nice out by eating food that is reminiscent of those summer days we miss. A great, fairly easy, and fairly inexpensive possibility is Vietnamese spring rolls. They can make delightful appetizers or wonderful light meals.
To make Vietnamese spring rolls, you will need:
· A package of rice paper wrappers (thin round sheets made of rice)
· A package of rice vermicelli noodles (sometimes labeled as “rice sticks”, these are very thin rice noodles)
· Fresh cilantro (You’ll need a couple of sprigs per roll)
· ½ pound of medium cooked, peeled, and de-veined shrimp, tails removed (2-3 shrimp per roll)
· Boston, green leaf or romaine lettuce
· Fresh bean sprouts (you’ll need 3-4 sprouts per roll)
Making spring rolls is something that takes a little patience to learn. Once you get the feel for it, you will be able to make them faster and faster. The first several, however, will take time. Don’t be surprised if you end up with a pile of torn wrappers your first few times making them. I went through plenty of wrappers when I first learned, and even now I tear a few.
First, get some water boiling in one medium pot, and some water warming in another medium pot. Add the rice noodles to the boiling water and cook until soft. This won’t take long. Drain, rinse with cool water in a colander, and set aside in a bowl, covering it with plastic wrap so the noodles don’t dry out.
The water that is warming will be used to soften the rice paper one by one as you make the rolls, which will be explained in more detail later.
Spring roll production setup:
Pick a table or countertop area where you have some room to work.
Place the cilantro, shrimp, lettuce, and bean sprouts near you so you can easily add them to the roll you are making. Place the bowl with the cooked noodles nearby as well.
Put a large plate in front of you and place a damp paper towel on it- this will be your plate on which to make the rolls.
Place the container or plate, lined with damp paper towels that will be where you put finished rolls in a place within reach from your production plate. Have another damp paper towel handy to keep the finished rolls covered so they don’t dry out.
Place some trivets or potholders on your counter or table and place a large rectangular Pyrex, or other sort of dish that can withstand the warm water without cracking, on the trivets. Pour some of the warm water in the dish so it is about 1- 1 ½” deep. Add more water to the pot & continue to keep warming it on the stove so you can add new warm water as the water in the dish cools without having to wait. Over the course of making spring rolls, you will probably pour cooled water out from your dish and add new warm water several times, as warm water works best to soften the roll wrappers.
Okay, now you are set up and finally ready to make your first spring roll. You will make the spring rolls start to finish, one at a time.
First, take a spring roll wrapper and slide it into the Pyrex dish of warm water. It will become softer and more pliable. The trick is to soften it, but not to the point that it will tear too easily. You will develop a feel for this as you make more and more rolls. It generally takes under a minute.
When it is softened, lay the wrapper flat on the damp paper towel on your preparation plate. Slightly to the left of the middle, place two or three shrimp in a column.
On top of the shrimp place about a tablespoon of noodles.
On top of the noodles place a couple of small cilantro sprigs.
On top of the cilantro sprigs place a couple of bean sprouts
On top of the bean sprouts place a piece of lettuce leaf (no spine) big enough to cover the pile of components you have made.
Fold the top of the wrapper down, the bottom up, and then roll the wrapper to the right, like you are wrapping a burrito or similar thing. The trick is to wrap it snuggly, but not to rip the wrapper.
If the wrapper didn’t rip (or at least not badly- a small tear is ok), then place it on your finished plate with a damp paper towel over it and start the next one.
If the wrapper did tear, no big deal- just salvage the components and toss the wrapper and start over again.
Repeat this process until you have as many rolls as you would like to make. I usually make two per person.
The order of the components doesn’t really matter, other than that the rolls tend to be prettier if the shrimp show through from one side and the lettuce from the other, which is why I put the shrimp on first and the lettuce on last. Really though, it will taste the same in any order.
A good way to conserve on cost when making these is to cut the shrimp in half lengthwise and only placing 3 halves in the roll (outside of the shrimp down so it looks nicer). This way your shrimp will go twice as far.
The rolls can be made ahead of time as long as they are kept refrigerated in a Tupperware container. (Again, lined with damp paper towels and covered with damp paper towels.) It is okay for finished rolls to be touching each other.
A popular sauce to serve with the rolls can be made by combining:
¼ cup coconut milk (Chaokoh is a great brand)
½ cup hoisin sauce (Kikkoman or Koon Chun Brand, NOT Dynasty Brand)
¼ cup water
Combine the above ingredients, bring to a boil, and simmer for 5 minutes. Serve with spring rolls. The sauce can be garnished with chopped peanuts.
I hope you enjoy this yummy and healthy taste of summer!
- Kristin Enkvetchakul
