The Cotton Mouth Club
Music by OutKast and Michael Jackson
Choreographed by Jessica Deahr, Robert McKee
at VG Biograph Theater, 2433 N. Lincoln (map)
thru June 9 | tickets: $20-$30 | more info
Check for half-price tickets
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Unfinished but enjoyable
Chicago Dance Crash presents
The Cotton Mouth Club
Review by Lauren Whalen
Talent, ambition and accessibility are wonderful attributes, and Chicago Dance Crash has them in spades. Victory Gardens’ mainstage brimmed with enthusiasm and energy on opening night of The Cotton Mouth Club, the company’s original full-length piece about time’s effect on love and life, set in two decades to the music of OutKast and Michael Jackson. I wanted to love The Cotton Mouth Club, I really did. Instead, I liked it. Chicago Dance Crash deserves accolades for trying, and trying very hard, but the show isn’t quite where it should be.
How can one decision affect the rest of your life, and the lives of those around you? Does time period, and time itself, play a part? The Cotton Mouth Club has a wonderful concept that’s the stuff of thoughtful entertainment, a pitch-perfect score (both OutKast and Michael Jackson’s songs are show-stopping yet profound), and a gorgeous, nimble ensemble. So why doesn’t it fully come together? The answer might lie in the absence of a director. One individual could have stepped back and seen the big picture, calling out the smaller flaws (such as why one female ensemble member wore red elbow-length gloves for no apparent reason) as well as the bigger issues (Rooster’s most major decision in Act II had no real motivation behind it).
Additionally, some of the contrasts weren’t very effective. Both OutKast and Michael Jackson have a modern sound, and Chicago Dance Crash – at least in this performance – specializes in a particular, balletic hip-hop style. Both choreographers and cast seem much more comfortable in the 1989 portion of the show, using neon colors, garbage cans and breathtaking breakdancing. The first act, set in 1929, doesn’t work as well: it’s clearly inspired by OutKast’s 2007 film “Idlewild”, which set the duo’s contemporary sound in a Southern speakeasy. However, The Cotton Mouth Club doesn’t have the intelligent juxtaposition of “Idlewild”. Aside from flapper dresses and zoot suits, there’s no real stylistic contrast from Act II’s 1980’s environment. The choreography and dancing are excellent, but there is no real nod to the 1920’s in either – so the effect is jarring rather than successful.
Despite its many missteps, however, The Cotton Mouth Club has ample rewards. Co-choreographers McKee and Jessica Deahr use certain songs beautifully and to their fullest potential: OutKast’s “PJ and Rooster” makes for an electric group number, Jackson’s “Workin’ Day and Night” a phenomenal burst of testosterone and an instrumental version of “Dirty Diana” is the picture of sensuality. Jackson’s “Remember the Time”, an homage to passion and memory, is used as a recurring theme and brought to life by Newman’s vibrant presence.
As the amorous but tortured Rooster and Zora, McKee and Tarpley positively shine. Tarpley’s technique is flawless, her energy equal parts restrained and wild. McKee brings soul into every step, every pause, every breath. Their palpable chemistry carries to the back row, every nuance real. Act I duet “Take Off Your Cool” has a tangible sadness, while Act II’s “Baby Be Mine” highlights sweet anticipation. These two alone are worth the price of admission.
I brought one of my closest friends and most trusted viewing companions with me to The Cotton Mouth Club. I am a trained dancer and dance enthusiast, he is neither. After the show, we analyzed and I agonized over what rating to give. We both wanted The Cotton Mouth Club to live up to its full potential, and in that respect were disappointed. On the other hand, we unabashedly loved the music, the enthusiasm of dancers and audience alike, the main storyline and concept. I can’t give The Cotton Mouth Club my highest endorsement, but I can recommend it, as a diamond in the rough.
Rating: ★★★
The Cotton Mouth Club continues through June 9th Victory Gardens’ Začek McVay Theater, 2433 N. Lincoln (map), with performances Fridays and Saturdays at 8pm, Sundays 3pm. Tickets are $20-$30, and are available by phone (773-871-3000) or online through OvationTix.com (check for half-price tickets at Goldstar.com). More information at ChicagoDanceCrash.com. (Running time: 1 hour 30 minutes, includes an intermission)
Photos by Emily Coughlin
artists
performers
Robert McKee (Rooster), Mary Tarpley (Zora), Jonathan Newman (Father Time), Lyndsey Rhoads (Caroline)
The Cotton Puffs: Erin Clyne, Emily Coughlin, Tehran Dixon, Chantelle Mrowka, Monica Patzer, Kaitlin Webster
Gangsters: Daniel Gibson (Jack, the Leader), Kevin Gerrard, Charlie Cutler, Joe Jenson
Moonshiners: David Ingram (Willie, the Leader), Craig Miller, Brian Humphreys, Jonathan Newman
behind the scenes
Jessica Deahr and Robert McKee (choreography), Daniel Gibson and Brian Hare (additional choreography), Lauren Girard and Sarah Lackner (stage managers), Mike Goebel (lighting design), Brian Sauer (set design), Dopples 3000 and DJ Ganger (Sound Editing), Bread & Roses Productions (production management), Emily Coughlin (photos)
13-0542
