Opening Statement: Ghosts and guilt in Dublin

By Julian Frazin
Michael Best & Friedrich • Entertainment Critic

May it please the court …

The nicely appointed, intimate 160-seat Hoover-Leppen Theatre, in the new Center on Halsted, a lesbian-gay-bisexual-transgender community facility at 3656 N. Halsted, was the perfect venue for the recent About Face production of Douglas Carter Beane’s contemporary comedy, “The Little Dog Laughed.”

Directed by co-founder and artistic director, Eric Rosen, the play features Mary Beth Fisher as Diane, the ambitious, wisecracking lesbian agent of Mitchell (Lea Coco) a handsome “boy next door” movie star - outwardly straight but secretly gay - who is on the brink of a major career breakthrough if he can keep his sexual preference private.

The situation is complicated when, to Diane’s chagrin, her client has an affair with Alec (Levi Holloway), a bisexual male prostitute who, despite being in a longtime relationship with Ellen (Heather Prete), his flighty and pregnant girlfriend, is convinced he wants to spend his life in Hollywood with Mitchell.

Ultimately, the shrewd Diane, who has a number of hilarious, acid-tongued, narrative monologues, comes up with a bizarre solution, which satisfies everyone.

The little dog laughed to see such sport … and so will you!

After directing the recent Broadway production, Goodman Theatre’s artistic director, Robert Falls, has returned home with “Shining City,” a brilliant, witty, and thought-provoking work by the outstanding young Irish playwright, Conor McPherson.

Set in present-day Dublin, at the home office of Ian (Jay Whittaker), a priest-turned-therapist, this is a tale of ghosts, guilt, and transference that will draw you in, and surprise you at its conclusion.

John Judd plays John, a middle-aged widower who has come seeking help to deal with recurring visions of his wife’s ghost following her violent accidental death. Ian, in turn, has troubles of his own, including coping with his pregnant fiancee (Nicole Wiesner) and, hesitantly, exploring his own sexuality with Laurence (Keith Gallagher).

In perhaps the performance of the season, Judd’s portrayal of an ordinary bloke earnestly looking for life’s meaning in the everyday conversation of a working stiff (”It’s hard to believe that this is it!”) is outstanding. Not only is it a tribute to the talents of the actor, but to the perceptive script, as well.

If you are a fan of boxing, you will never get closer to the real thing than the opening scene of Shattered Globe’s production of “Requiem for a Heavyweight,” at Victory Gardens Greenhouse, 2257 N. Lincoln.

The power and savagery of the ring have never been so accurately depicted than by the futile battle waged by the aging heavyweight, Mountain McClintock, as choreographed by Nick Sandys. Rod Serling’s classic originally starred Jack Palance as the badly beaten and scarred McClintock and Keenan Wynn as his distraught and debt-ridden manager, Maish, in the 1956 teleplay, and Anthony Quinn and Jackie Gleason in the 1962 motion picture.

The violence continues outside of the ring, as we learn that, after 14 years, the boxer is forced by the doctor to retire. Maish, who lost money on Mountain’s last fight by betting against his fighter, is now being physically threatened if he doesn’t come up with the cash to fulfill a contractual obligation. His only hope is to sell out his boxer to a wrestling promoter.

Meanwhile, the grotesquely disfigured Mountain looks for work with the help of a lovely young social worker who cares for him.

Director Lou Contey has gotten brilliant performances out of every member of this talented cast, which includes Sean Sullivan as McClintock, Bill Bannon as Maish, Brian McCartney as Army, the loyal and sympathetic cut-man, and Paula Stevens as Grace, the compassionate social worker. Even from Charlie the bartender (Don Blair), he is able to get a nod, a shrug, or a sigh, an expression that he has seen it all before.

Serling has painted a picture of men who, after living a life of failure and defeat, spend their waning years telling each other stories of when they “coulda been a contender.” Only Mountain emerges as a true champion, with a final victory as he sacrifices his pride to save his friend - showing that there can be a measure of love in this violent world.

I rest my case.

Final Verdict:

“The Little Dog Laughed”: 3 Gavels

“Shining City”: 4 Gavels

“Requiem for a Heavyweight”: 4 Gavels