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Posts Tagged ‘rebel and misfits productions’

Macbeth: Come Like Shadows
by William Shakespeare, etc.
Directed by Sean Patrick Higgins and Kelly Hummert
Rebel and Misfits Productions
October 25, 2018

Sean Patrick HIggins, Kelly Hummert
Photo by Eric Woolsey
Rebel and Misfits Productions

So, you park your car at a sports bar in Soulard, get on a bus, and are transported to Scotland–or an alternate universe Scotland that’s the invention of the devisers in a truly creative immersive theatre production of Macbeth that’s happening right now in St. Louis. Macbeth: Come Like Shadows is an inventive, confrontational, well-thought-out and strongly cast production that puts you into the middle of the story.

Macbeth: Come Like Shadows is immersive, but it’s also a play. Essentially, it’s a straightforward production of Macbeth in an unusual setting, with a few additions to the script and an additional devised pre-show that adds further context to the production. The setting is more or less modern, in an alternate reality in which Scotland has been taken over by an extreme right-wing dictator and freedom of expression has been severely limited. Most of the context, though, comes from the pre-show, in which audience members wander through the performance space in a semi-restored former church building and overhear conversations among the various characters, including the dictatorial Duncan  (Jeff Cummings) and his son Malcolm (Paul Cereghino), who is not inclined toward leadership. There’s also Lady Macbeth (Kelly Hummert), who is disillusioned for many reasons, including Duncan’s policies, the absence of her soldier husband (Sean Patrick Higgins), and a recent personal disappointment that she shares with her close companions Bianca (Patrice Foster) and Lady Macduff (Hailey Medrano), who has a new baby and is also missing her husband (Spencer Sickmann), who is currently at war and seems to never be home. Milling about the sanctuary that also includes a skate park, audience members can witness these various conversations and get an idea of the secretive, overly authoritarian regime, before Macbeth and Banquo (Shane Signorino) arrive and are confronted by the Weird Sisters (Tielere Cheatem, Alison Linderer, Cynthia Pohlson) to signal the beginning of the more linear play. The pre-show adds a lot of context to the interpretation of the characters and situations here, and the result is a chilling portrayal of a highly realistic situation, dealing with issues such as the polarization of society, totalitarianism, ambition, and the corruption of power. The up-close-and-personal arrangement brings the audience into the action as participants in the action, cast as war refugees and, at times, split into groups as part of the story, so this is a play that may be worth seeing–and experiencing–more than once, because depending on where you stand and what numbers are stamped onto your hand and wrist at the entry point, the experience can vary dramatically.

The setting, the backstory, and some new twists on the characters make this a whole new take on Macbeth, with more focus on the central couple, and on Lady M in particular, as well as some different context and reasoning behind their ambitions, as well as a drastically different interpretation of several characters, especially Duncan, Malcolm, and even the witches, who here seem more like ethereal mystical figures. Lady M, as embodied in a bold performance by Hummert, is every bit her husband’s partner here, and his rise to power is also hers, which makes her ultimate unraveling even more devastating. The obvious affection and attraction between the Macbeths is readily apparent as well, as the chemistry between Hummert and Higgins is palpable. Higgins’ journey from ambition to power is also made more personal here, and especially jarring in a key scene in which he gives a speech that says one thing, while the actions of his army around him seems to say something chillingly different. There are strong performances all around, from Sickmann’s single-minded Macduff, to Medrano’s neglected Lady Macduff, to Foster’s devoted Bianca, to the otherworldly Weird Sisters of Cheatem, Linderer, and Pohlson, as well as Cummings’s coolly pragmatic Duncan and Cereghino’s conflicted Malcolm.  It’s a bold, visceral, confrontational production that works on many levels, from the presentational to the personal.

Technically, the production values are impressive. The performance space poses particular challenges from its sheer size to its age, but the world of the play has been well realized here by Rebel and MIsfits’ technical team. Joe Novak’s set mostly consists of a few furniture pieces–most notably a large four-poster bed that is the focal point for many moments involving the Macbeths. The other major focus point is the skate park ramps on the other side of the performance area, although a few other areas in the room are also put to excellent use. The sound is something of a challenge–there’s an ominous soundtrack by Adam Frick-Verdine that adds a lot to the mood of the production, but the space itself is cavernous and often makes hearing dialogue difficult. Still, the visual aspects of the production are nothing short of stunning–from Eileen Engel’s memorable costumes to Jon Ontiveros’ truly striking lighting, illuminating the space in distinctive and colorful ways that make the most of the space and amplify the emotion of the production.

The interactive nature of this show can seem daunting at first if you’re unfamiliar with this type of theatre. I for one was more than a little nervous approaching this show, being the introvert that I am. Still, even though it took some time to adjust to the format, after a while I was able to get more into the spirit of the production. This production isn’t quite as “in-your-face” as I was fearing, but it’s certainly personal and as interactive as you want it to be, and it’s helpful to check out the company’s website for details of what to expect. You also get an email with instructions upon reserving your ticket. You can talk to the actors if you want, or you can keep your distance and be more of a people-watcher. It’s a daring undertaking, and I would think it would be especially conducive to repeat viewings. This is Macbeth like you’ve never seen it before, and it’s thrilling.

Cast of Macbeth: Come Like Shadows
Photo by Eric Woolsey
Rebel and Misfits Productions

Rebel and Misfits Productions is presenting Macbeth: Come Like Shadows until November 10, 2018

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The Realistic Joneses
by Will Eno
Directed by Edward M. Coffield

Rebel and Misfits Productions
July 26, 2018

Alan Knoll, Isaiah DiLorenzo, Kelly Hummert, Laurie McConnell
Photo:
Rebel and Misfits Productions

Will Eno’s The Realistic Joneses is a fascinating play, in terms of characterization, language, and insight. It’s one of those plays I’m tempted to write essays about, rather than simply a review. Its use of language makes me want to buy, read, and re-read the script. Still, a play is about more than the script. It’s about the whole production–acting, staging, production values, etc., and the new production by Rebel and Misfits Productions is the real deal. It’s a challenging, thoughtful, impeccably cast production of this intriguing, insightful play.

The story is something of an unfolding mystery, and part of its brilliance is that almost as much is communicated by what is not said as by what is said. The “Joneses” of the title are two married couples who at first seem to share little in common besides their last name. Appearances can deceive, however, and not all is how it first appears. The story unfolds in a series of scenes, starting as Bob (Alan Knoll) and Jennifer Jones (Laurie McConnell) sit at a table in their backyard, awkwardly attempting to converse. They are interrupted by the unexpected arrival of their new neighbors, the younger couple John (Isaiah DiLorenzo) and Pony Jones (Kelly Hummert). This first meeting is soon followed by a series of more meetings of various combinations of the characters, as the new neighbors get to know more about each other, and the audience learns that there’s more to this story than originally presented. The relationships grow more and more complex, and life situations more serious as issues of life and death, love and meaning, are discussed and played out. The process of discovery is a big part of the story, so I won’t reveal too much, but I have to say that Eno’s script is so well crafted, and this production is so insightfully staged, that clues to what is really going on become apparent in subtle but powerful ways.

This is a show that relies a lot on subtext, and that’s handled extremely well in this production, and by the truly excellent cast. The language is also particularly idiosyncratic, with each character having a specific way of speaking. All four performers here carry off the text and the subtext with impressive clarity, with excellent ensemble chemistry and couple chemistry. There’s real credibility in the relationships between the bickering Bob and Jennifer–played by real-life married couple Knoll and McConnell–and between the quirkier Pony and John, played by Hummert and DiLorenzo with presence, humor, and poignancy. The characters are all relatable in different ways, and enigmatic in other ways–with Knoll and DiLorenzo particularly adept in portraying their characters’ particular types of evasion, McConnell’s wariness through her weariness, and Hummert’s clear communication of the outwardly flighty Pony’s inward depth and dawning realization of what is happening. It’s an ideal cast for this challenging, highly character-driven play.

The neighborhood setting is well-realized through Peter and Margery Spack’s detailed set. Sitting on either side of the performance space, the feeling is of being in these characters’ backyard. There’s also excellent sound design by Ellie Schwetye, and lighting by Jon Ontiveros that helps set the mood and sense of passage of time throughout the play.

The Realistic Joneses is one of those plays that makes me really think about language, to the point where it had me thinking about speech patterns in real life even after the play was over. It’s a highly character-focused play that presents characters that one might see every day, but also emphasizes communication, of emotions, of ideas, and of the changing realites of life. It’s a play I’d read about but had never actually seen, and now I’m glad this remarkable production has given me the opportunity to see it.  There’s still some time to see it, and I highly recommend checking it out.

Laurie McConnell, Alan Knoll
Photo: Rebel and MIsfits Productions

Rebel and Misfits Productions is presenting The Realistic Joneses at the JCC New Jewish Theatre Black Box until August 12, 2018

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