By Julian J. Frazin
Michael Best & Friedrich • Entertainment Critic
May it please the court...
The plot of "A Parallelogram," a new play by Bruce Norris, which
recently had its world premiere at Steppenwolf Theatre, 1650 N. Halsted, under the direction of Anna D. Shapiro, could easily have been an episode on "The Twilight Zone."
A young woman, Bee, played by Kate Arrington, living with her recently divorced boyfriend Jay, portrayed by ensemble veteran Tom Irwin, suddenly finds that she is being visited by an aging, chain-smoking, television-addicted version of her future self. "Bee 2,3,4," as she is designated in the cast order, is played in a variety of roles by Marylouise Burke in her Steppenwolf debut. She is visible only to her younger self and can be seen by others only when she chooses, which she does when she appears as a doctor when Young Bee is in a psychiatric ward and later as the elderly grandmother of J.J. (Tim Bickel), a young Hispanic gardener who moves in when Jay moves out.
The elder Bee not only reveals what the future will bring, including a catastrophic world-wide viral epidemic, but also supplies the younger woman with a remote control device that allows her, with a click, to travel back-and-forth in time. Using this procedure, she quickly learns that no matter what she does in the present, she cannot change the future.
Which brings us to the ultimate question: How would you react if you learned that no matter what you did, your life would have no meaning and could only result in harm to others? You might, like the younger Bee, despair and take to your bed. Or, you could, with a leap of faith, convince yourself that your actions still have meaning and go on living with hope and trust in the future.
The play draws its title from an Einstein theory that contends time is a space/continuum existing on many parallel levels with infinite special points at which all events in one's life happen simultaneously. In spite of its dark side, "A Parallelogram" is, thanks to the very humorous performances of Burke and Bickel, a very funny comedy.
As I entered the Cadillac Palace Theatre for the opening-night performance of "Shrek, the Musical," I had one question. Why, after three wonderful animated films, was it necessary to produce a stage version? Within minutes I had my answer. I observed the large number of adults crowding into the theater, most of whom had several children in tow, and for which they were willing to pay top dollar (no child or senior discount here) for prime orchestra seats. Reason enough? There's more.
For the next two-and-a-half hours, I watched a production that was far livelier, more colorful and funnier than any I had seen on the screen. I also saw the great interaction between the actors and the audience that only a live performance can bring, including the cheers and squeals of delight as each favorite fairy tale character made its appearance.
First there was Shrek, the big green lovable ogre, played by Carol Stream's own Eric Petersen. Then came the sometimes lovely, sometimes not, Princess Fiona (Haven Burton) who, among other things, leads a tap-dancing troupe of rats to follow the Pied Piper. Alan Mingo Jr. as the smart-aleck, wise-cracking Donkey, puts in a performance often surpassing that of Eddie Murphy in the animated version.
There was, of course, the little, misshapen Lord Farquaad (David F.M. Vaughn) who somehow manages to also do a fabulous tap dance on his knees - uh, feet. My favorite was the huge red, fire-breathing dragon who takes a fancy to Donkey. It is a spectacular puppet designed by Tim Hatley. Carrie Compere, whose credits include "Ain't Misbehavin'" and "The Wiz," provides the torchy voice while puppeteers Tyrone Davis Jr., Dennis Paschall and Kevin Quillon provide the brilliantly choreographed moves.
This is a zany musical comedy with many outrageous and riotous scenes. It is "Forbidden Broadway" meets "Spamalot" in "Fantasyland," guaranteed to entertain the whole family.
It also features a great book and lyrics (David Lindsay-Abaire), music (Jeanine Tesori) and a not-so-subtle message - never judge anyone until you get to know them. That includes even an animated film made into a staged version called "Shrek the Musical."
OBITER DICTA: It's not "Shrek the Musical" but the price is right and it's being shown at Chicago Shakespeare Theatre on Navy Pier. It's a bright, eye-popping new musical based on Hans Christian Andersen's "The Emperor's New Clothes."
I rest my case.
Final Verdict:
A Parallelogram: Three gavels
Shrek the Musical: Four gavels