Intriguing small town saga suffers from inconsistent delivery
Review by Lauren Whalen
It's easy to write a play set in a small town, in which the characters are all slack-jawed yokels. Writing characters that, in spite of their lack of options, are real and complex humans is much more difficult. In that respect, Chagrin Falls succeeds - playwright Mia McCullough does an excellent job of giving her characters, all various degrees of stuck in a tiny Oklahoma town, a tangible sense of humanity. Director Sommer Austin also has partial success: despite some questionable staging and an anticlimactic climax, Austin casts well and guides the actors through a believable journey. Sadly, the failures are in equal measure: Chagrin Falls is too drawn out, thanks to both playwright and director, and one of the leads' inexperience overwhelms the whole production.
As someone who grew up in small towns - one of which had a prison on the outskirts, and a factory across the road - I don't care for small-town plays (or books, or movies, or TV shows) that rely on lazy stereotypes. Thankfully, Chagrin Falls doesn't. Yes, Patrice endures a cluelessly racist comment from good-natured prison guard Henry (Merrick Robison) and Thaddeus longs to go to college, or at least escape the confines of the town. Both of these are realistic examples of small town living, and McCullough paints them well without dwelling. Irene, the weathered barmaid with an open secret that's made her somewhat of an outcast, and Riley, haunted by memories of war and of his recently deceased wife, are the strongest, most nuanced characters. Hoeflich and Koon are perfectly cast and embody both individuals with the respect and intelligence they deserve. Set designer Greg Pinsoneault gets every aspect of the hotel bar/restaurant exactly right, from the worn-in floors to the bronze molds on the walls.
If only the rest of Chagrin Falls were as strong, the production would be more successful. McCullough could have used an editor, as some scenes run far too long, particularly one between Thaddeus and Patrice. Austin is a mostly capable, thoughtful director, but a climactic fight sequence feels very rushed while the show's pacing drags more often than not. Perhaps the most troubling aspect of this production is the casting of Cheung as Patrice. The character is smart, inquisitive and emotional, hiding a secret of her own. The actress, however, is flat and dull, saying her lines in monotone and injecting no personality whatsoever. Patrice is the heart of the piece, so to have her played so poorly is a disappointment. Cheung is an experienced improv performer, but Chagrin Falls is her first full-length production, and it shows. This is yet another argument for more diverse casting across the board, as I suspect Cheung was perhaps the best fit for the role that this small theater company could find.
To use sports terms (also fitting with the small-town setting), Chagrin Falls could have gone all the way, but dropped the ball instead. McCullough's script is equal parts wonderful and weak, and Austin's direction has some misguided moments. Additionally, when one of the lead characters is played by an inexperienced actor, the production ends up tainted. With a stronger performer and cleaned-up script, Chagrin Falls could have been a memorable portrait of a tiny town overshadowed by death. Instead, it's more of a blip on the Chicago theater radar.
Chagrin Falls continues through December 4th at The Den Theatre, 1333 N. Milwaukee (map), with performances Thursdays-Saturdays at 7:30pm, Sundays 3pm. Tickets are $28, and are available by phone (773-697-3830) or online through BrownPaperTickets.com (check for half-price tickets at Goldstar.com ). More information at WeAreTheAgency.org. (Running time: 2 hours 10 minutes, includes an intermission)
Denise Hoeflich (Irene), Robert Koon (Riley), Jennifer Cheung (Patrice), (Thaddeus), Merrick Robison (Henry), (Reverend), John-Paul Kostecki (Jonas), Kelly Levander (u/s Irene), Tim Touhy (u/s Riley), Diana Lee (u/s Patrice), John-Paul Kostecki (u/s Thaddeus), Jack Schultz (u/s Henry), Gino Generelli (u/s Reverend)
behind the scenes
Sommer Austin (director), Alex Molnar, Cordie Nelson (asst. directors), Jeri Frederickson, Alicia Hynes (production managers), Kathryn McNall (production stage manager), Janet Magnuson, Jake Engram (asst. stage managers), Sara Faye Richmond (art director), Ryan Brankin (composer), Kate Jacobsen (costume design), Aram Monisoff (dialect coach), Mark Mocarski (fight choreographer), Ellie Humphrys (lighting design), Alec Long (properties design), Greg Pinsoneault (set design), Niki Dreistadt (sound design), Zachary De Nardi (technical director), Jake Engram, Brian Rife (asst. technical directors), Mark Mocarski (construction crew), DaVita Cole (additional crew), Bill Richert (photographer)
Tags: 16-1066, Agency Theatre Collective, Alec Long, Alex Molnar, Alicia Hynes, Aram Monisoff, Bill Richert, Brian Rife, Chicago Theater, Cody Lucas, Cordie Nelson, DaVita Cole, Den Theatre, Denise Hoeflich, Diana Lee, Gino Generelli, Greg Pinsoneault, Jack Schultz, Jake Engram, Janet Magnuson, Jennifer Cheung, Jeri Frederickson, Joe Lino, John-Paul Kostecki, Kate Jacobsen, Kathryn McNall, Kelly Levander, Lauren Whalen, Mark Mocarski, Mark Mocarski. Ellie Humphrys, Merrick Robison, Niki Dreistadt, post, Robert Koon, Ryan Brankin, Sara Faye Richmond, Sommer Austin, Tim Touhy, Zachary De Nardi
Category: 2016 Reviews, Agency Theater Collective, Den Theatre, Lauren Whalen
