The Revel
Written by Damon Kiely
Music by Jess McIntosh
Chopin Theatre, 1543 W. Division (map)
thru Oct 25 | tix: $30-$35 | more info
Check for half-price tickets
Unpolished adaption with stunning score
The House Theatre of Chicago presents
The Revel
Review by Lauren Whalen
When it comes to sheer visual magic, The House Theatre of Chicago can’t be beat. No production detail goes unnoticed, and little touches add up to big impact. The House has earned its sterling reputation for innovation many times over, to the point where even its weaker productions are still enjoyable and fascinating. While its season opener, The Revel, is decidedly imperfect – mostly because of Damon Kiely’s unpolished script – the beautiful staging, stunning original music and phenomenal female-dominated cast make the production well worth watching.
The Revel is adapted from Euripides’ tragedy The Bacchae, in which the god Dionysus decides to punish citizens for improper worship by whipping a group of women into a bloody religious frenzy. Playwright Kiely (who also co-wrote lyrics with composer Jess McIntosh) adapted The Bacchae to embody his own struggle with faith and devotion to music. Indeed, The Revel’s country-gospel score is beautifully written and performed, and represents the strongest and most spiritual aspect of the production. In that respect Kiely (and McIntosh) greatly succeeded.
If only the script itself was as developed. Beginning with an entirely too long opening scene, The Revel plays like a first draft. It never becomes clear whether Deacon is supposed to embody Dionysus/God or is a disciple of the deity sent to punish the town (and for what? Sure, Peter’s a little pushy, but mostly they all appear hardworking and down on their luck, like virtually everyone who endured the Depression). The character appears to have no real motivation behind his actions, and pretty much flees with no explanation after the play’s climax. Additionally, so much is told and not shown, to the point that I wasn’t sure when and why the women transitioned from 1930’s hippies to bloodthirsty shrews.
Substantial script issues aside, there’s a lot to like about The Revel. The 90-minute play is well-paced thanks to Leslie Buxbaum Danzig’s sharp direction, and her choreography and staging are profound and lovely. Izumi Inaba’s costume design plays up worn fabrics and neutral colors for a very natural look, and Grant Sabin’s set (incorporating levels and staircases to represent a house, a town and a mountain) embodies the House’s signature visual innovation. Additionally, Lee Keenan’s light cues provide a dramatic undercurrent and quite possibly the strongest lighting design I’ve seen in my four years of reviewing theater.
The Revel also has its fair share of strong performances. Only Mathews appears miscast: normally he’s a solid actor but his Peter is whiny and shrill. As Peter’s mother and sister, who fall under Deacon’s spell, Sarah Charipar and Christine Mayland Perkins are fantastic and multi-layered even when their characters border on archetypes. With his hardy voice and blond curls, Lutz is a perfect preacher bordering on con man. But the real stars of The Revel are the members of the women’s chorus. Lovingly directed by Matthew Muñiz, the chorus also plays instruments and clog dances. Their flawless harmonies embody a group of frustrated women at the end of their rope, who would naturally gravitate toward the promise of inner peace – by any means necessary.
Despite an underwhelming script, The Revel embodies what makes the House a pioneering company. Even when the source material fails, the music and visuals soar. Don’t expect another Hammer Trinity, but The Revel is worth a look.
Rating: ★★★
The Revel continues through October 25th at Chopin Theatre, 1543 W. Division (map), with performances Thursdays-Saturdays 7:30pm, Sundays 7pm. Tickets are $30-$35 (student/industry $10 same day, based on availability), and are available by phone (773-769-3832) or online through PrintTixUSA.com (check for half-price tickets at Goldstar.com). More information at TheHouseTheatre.com. (Running time: 90 minutes without intermission)
Photos by Michael Brosilow
artists
cast
Sarah Charipar (Agatha), Michael E. Smith (Sheriff), Eunice Woods (Sheriff’s Wife), Christine Mayland Perkins (Cadie), Andy Lutz (Deacon), Chris Mathews (Peter), Jeanne T. Arrigo, Bridget Rue, Kamille Dawkins, Courtney Jones, Julia Merchant (chorus), Alex Stage (u/s for Deacon and Sheriff), Casey Morris (u/s for Peter), Jeanne T. Arrigo (u/s for Agatha), Bridget Rue (u/s for Sheriff’s Wife)
behind the scenes
Leslie Buxbaum Danzig (director, choreographer), Damon Kiely (writer, co-lyricist), Jess McIntosh (original music, co-lyricist), Grant Sabin (scenic design), Izumi Inaba (costume design), Lee Keenan (lighting design), Kevin O’Donnell and Sarah Espinoza (co-sound designers), Barbara Silverman (clogging instructor), Matt Hawkins (fight choreography), Christine Adaire (dialect coach), Matthew Muñiz (music director), Marika Mashburn (director of casting), Derek Matson (development dramaturg), Brian DesGranges (stage manager), Eleanor Kahn (props master), Aileen McGroddy (asst. director), Emily Arnold (asst. costume design), Jon Woelfer (scenic supervisor), Jerica Hucke (costume manager), Ivy Reid (master electrician), Amalie Vega (asst. stage manager), Liz McLinn (wardrobe supervisor), Spencer Ryan Diedrick (production assistant), Michael Brosilow (photos)
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