Terry Teachout's Wall Street Journal Review of Old Times

Chicago

Time was when Harold Pinter's shorthand dialogue struck most people as impenetrably mysterious -- and times, truth to tell, haven't changed all that much. Yet his best plays continue to make a powerful impression, and "Old Times," first seen on Broadway in 1971, has even become something of a regional-theater staple in recent years, partly because it can be produced so cheaply (three actors, one simple set) and partly because it's so theatrically effective. Pinter never wrote anything more potent than the enigmatic story of Deeley and Kate, an uneasily married couple whose life is disrupted by a visit from Anna, who knew Kate 20 years ago and appears (or maybe not) to have been romantically involved with her. Remy Bumppo Theatre, one of my favorite Chicago companies, is presenting this icy sparring match in an exceptionally satisfying production that has been staged with surgical skill by James Bohnen, the company's artistic director. Nick Sandys, Jenny McKnight and Linda Gillum all give tightly coiled performances that keep the tension rising all the way from curtain to curtain.

Mr. Teachout, the Journal's drama critic, blogs about theater and the other arts at www.terryteachout.com. Write to him at tteachout@wsj.com.

Usman's thoughts

We are now in our last weekend of American Ethnic, and the fact that we have 4 sold out shows is an amazing testament to the beautiful artistic work, and excellent marketing of this production! I could not be happier with how things have turned out for us…the work is slick, meaningful and diverse. The production values are excellent, the talk backs with academics and civic leaders brilliant. I think this is the first year that thinkTank has really been what was first envisioned- a month of powerful eclectic and socially conscisous work.

As an actor and an artist its been a great growth process for me as well, giving me the opportunity to hone some of my writing, figuring out what works for me and what doesn’t, and what do I need to be able to tell a story clearly, AND stylistically. Its been dope, its been real, and I am excited to see where we can take this show- around the country, festivals…the sky is the limit.

Kelly reflects....

I can’t believe we’re already on the last weekend of our run for “American Ethnic” -- I’d have to say that I’m incredibly proud of our work. The fact that critics, theater fans, spoken word folks, hip hop heads, activist types, and people who just kinda stumbled into the show have all had a deep connection with the work emotionally and intellectually, means a lot to me. I feel like it’s a real testament to the beauty of this collaboration. This show is as good an example as any of what is possible when people from diverse backgrounds (experience-wise and artistically) listen to each other, respect each other’s talents, and are open enough to being inspired by bringing out the best in ourselves.

So yes, it is absolutely living the dream in so many different ways, and thank you so much to everybody who’s come out to support the show – it means so so much! We’re having convo’s right now about the future life of the show, so hopefully it will be in a city near you – and if you are a presenting organization or school that would like to bring us out – most definitely let us know! I know the words, thoughts, experiences, and post-show discussions evoked by the show will be staying with me and my art for a very long time

A note from an Audience Member

American Ethnic deals with ethnicity, race, gender and class issues from the perspective of three artists: Usman Ally, Idris Goodwin, and Kelly Zen-Yie Tsai. Usman Ally is a Pakistani man, Idris Goodwin is an African-American man, and Kelly Zen-Yie Tsai is a Taiwanese woman. At times performing together and usually performing apart, the three artists, confront us with their experiences and thoughts in America and abroad as minorities. To understand the show it is also helpful to know the mission of thinkTank: “thinkTank features dramatic works with a focus on provoking timely conversation about a social, political or economic issue in which Chicago citizens have a stake.” Further, they provide this opportunity for conversation immediately following the production of their shows. ...

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The Reviews are In!

"a funny and powerful mash-up of three vibrant young voices raised in defiance of the status quo." - Leon Hilton, Chicago Reader

"this is one helluva show. Three writer-performers occupy the stage like they're standing on the ledge of a building...it is entirely about the here and now." - New City Stage

"a new, unexpected and inspiring experience...It's very smart. It's very moving." - Annabel Armour, Actress and Remy Bumppo Artistic Associate

"The writer-performers ... are clearly aware of the complexities involved in viewing modern media through this lens..." - Brian Nemtusak, TimeOut Chicago

"The profound sketches...did cause me to reflect on some of my own ideas about the topics ... It was enlightening." - Katheryne Lumous, Remy Bumppo patron"It's Cheap. It's Unexpected. It's Great. Go." - Karen Aldridge, Actress



Did you know you can listen to all American Ethnic post-show discussions from your home?
Log on to ChicagoPublicRadio.org and search "Chicago Amplified Archives" for all of Remy Bumppo's programs.

TECH WEEKEND

Well the weekend was grueling. A ten hour tech on Saturday and another 5 hours on Sunday, but it was well worth it. The show is in great shape, the lights and sound adding a great deal of color, vibrancy and immediacy to the production. It’s great working with sound expert Nick Keenan, and lighting wizz Stephanette. Under the guiding eye of stage manager Amy Bertacini and director Nick Sandys, tech weekend was unusually relaxed but efficient at the same time.
As for the performers, we are getting a little antsy, ready to put this show up in front of an audience! I can’t believe opening is so soon, and the nervous energy is getting the better of me! I am ready!
Shameless plug: Sunday evening Kelly and I will be at the Green Mill’s Uptown Poetry Slam this Sunday the 15th of March.

Then catch us at Café Mestizo Wednesday 18th March.

Nick Sandys: On Tech Rehearsal

The past weekend was full, full, full, as we added all the other elements of the production to the rehearsal text and went through a lengthy technical process. Not surprisingly, the sound score to the show is another character—which we are rehearsing in just two days, basically. Nick Keenan has a great feeling for the rhythms of the show, and thanks to places like Youtube, soundbites are now available for so many different historical and cultural moments—eg. from 2005 Amman bombings, to Elmer Fudd’s chuckle, to “Kimora: Life in the Fab Lane”—all of which appear at some point in the show. The performers were terrific at quickly adapting and welcoming their new scene partner, sometimes seamlessly. They seemed a little less used to adapting to finding their light, since that plot element is equally detailed to create the different looks and movement for all 21 pieces in the show. It is going to be a lot of fun, over the next few days, watching them get comfortable again.

And all Samantha’s costumes are very relaxed and unobtrusive, but characterful. I was torn over Kelly’s silver ankle sneakers but they would prove to be a little too Vegas for this particular version of the show, I think.

The hardest decisions have been about the set, where Tim Morrison is coming up with some amazing stencil images for the walls, but each one leads to an important debate about the connotations of the images, and why they are present or not. Once you use a media image but change its context, especially by putting into a show about racial issues, the echoes of meaning start to become deafening. Even the placement on the walls becomes thematic, about who is in and who is left out of the frame. This whole rehearsal process, and working with these three thinking artists, has been a wonderful debate about the issues we are staging—much of it essentially stemming from the central paradoxical problem of mixing hip-hop and classical theatre aesthetics. Hip-hop culture is all about specificity and individuality, speaking only for the different self and personal experience—but all conventional theatre is built around the idea of representation, that everything on the stage is a symbol or represents something in the real world, therefore always speaking for others, erasing difference. It is a conundrum that I hope will yield some very interesting talkbacks.