Activist, heal thyself: hilarious, acerbic commentary on modern hypocrisy
Two Lights Theatre Company presents
The Altruists
Review by Joy Campbell
Two Lights Theatre debuts its first season with its production of Nicky Silver’s The Altruists. The show’s title is a sarcastic commentary on the characters who are, in Silver’s words, “heartless people doing cruel things.” Most of the people in Silver’s biting comedy purport to be people of social conscience; in reality they are a plague of parasitic hypocrites who denounce the flaws in others but remain conveniently blind to their own shortcomings.
Ronald’s sister Sydney (Bridget Schreiber), a pill-popping neurotic soap-opera star terrified of growing old and fat, chides Ronald on his delusional naïveté, and cynically assures him that Lance will rip him off. Of course, Sydney has taken into her own home — and bed — Ethan (Daniel McEvilly), a homeless, philandering social activist. During a brilliantly funny one-sided rant at the sleeping form in her bed, we discover that Sydney’s insecurity and attraction to Ethan have allowed her to become a doormat for him and his friends who, while denouncing her materialistic way of life, nevertheless show no compunction about using it to fund their own (and to furnish their apartments).
Cybil (Annie Prichard), in unrequited love with someone else, buries her loneliness in a lesbian relationship with Audrey, who is known only to us through descriptions of her jealous rages, freakish strength, and brutal retributions on the men with whom Cybil has slept. For Cybil, activism isn’t so much a calling as a hobby, and the drama more important than the causes. She’s less concerned with justice (“What’s the rally for this week? No, Chinese Human Rights was last month”) then the opportunity for angry theater. Her “lesbianism” is just one more clichéd accoutrement to her hilarious and carefully cultivated militant counter-culture persona (“I only know SEVEN black people; I need to know more. And not white black people; BLACK black people: sagging pants, gold teeth. Shoplifting black people.”) When it’s pointed out to her that she is way too promiscuous with men to really be a lesbian, she retorts, “I’m a lesbian POLITICALLY!”
Ethan believes himself an advanced soul, eschewing meat and materialism, but he’s really an opportunistic narcissist who uses women, excusing his behavior with a false nobility of being “honest” about the fact that he isn’t the commitment type (“I am what I am”). He sleeps with Sydney for access to her money and apartment, and he sleeps with Cybil behind Audrey’s back, but he truly connects with nobody.
Through direct addresses to the audience, we learn that with the exception of Lance, each character was brought up in a well-to-do household, furthering the revelation that their anger at injustice is one more contrivance, a self-justification for avoiding real work and truly purposeful lives. The irony is that the only character with principles is Lance, the strung-out prostitute played so effectively by Aaron Kirby. At first just a seemingly comedic addition, Lance goes from street-smart hustler to reveal the lonely young man starved for love that he truly is, and Kirby does a wonderful job keeping him real and winning us over.
All of these people would be too unsympathetic to hold our interest if Silver’s script were less clever, his dialogue less unselfconsciously true. The characters are self-involved and hypocritical, but they are also very, very funny. In the hands of lesser actors and direction, they could fall into cliché, but the uniformly excellent performances strike truth in every character, making each potential stereotype a real person.
Lest we be tempted to dismiss their behavior as the entertaining peccadilloes of silly, foolish people, however, Silver brings the show back down to earth: Sydney has committed a felony, and faces a life in prison if caught. Ethan and co. realize that they need to keep Sydney out of prison, not because they care about her (they don’t), but because her conviction would mean the end of the gravy train. It is here that these hitherto laughable characters commit an act that is so unforgivably base that we see them for the truly ugly, irredeemable people that they are.
Matt Olson’s set is simple: the stage is divided visually into three sections, each marked by a bed and assigned subtle color codes. Using a combination of perfectly timed lighting, sound, and action, we move from blackout to blackout in a well-choreographed tempo that perfectly paces the show.
Two Lights is the new kid diving into the crowded pool of Chicago indie theater, and with its debut production of The Altruists, it makes one hell of a splash. I look forward to more great things from this very talented group.
Rating: ★★★★
The Altruists continues through November 4th at Chopin Theatre, 1543 W. Division (map), with performances Thursdays-Saturdays at 7:30pm, Sundays 3pm. Tickets are $15-$20, and are available by phone (773-769-3832) or online through Artful.ly (check for half-price tickets at Goldstar.com). More information at TwoLightsTheatre.com. (Running time: 90 minutes, no intermission)
artists
cast
Aaron Kirby (Lance), Daniel McEvilly (Ethan), Annie Prichard (Cybil), Bridget Schreiber (Sydney), Will Von Vogt (Ronald)
behind the scenes
Ellen Chambers, Matt Olson (co-directors); Dan Dvorkin (artistic director); Olivia Grzasko (costumes); Nick Belley (lighting); Jack Hawkins (sound design); Matt Olson (set, props); Samantha Nicodemus (dramaturg); Eleni Sauvageau (production and stage manager); Sammi Grant (vocal coach); Tori Oman (marketing director); Dan Smeriglio (house manager)
