Often nostalgia and trauma share the same home. For Isaac Gomez, that place is El Paso, Texas. His new script, Leopard Play, or sad songs for lost boys, features a character who is only billed as “Son.” After ten years, Son returns to El Paso for a memorial in honor of his uncle who died of a heart attack — or at least that’s what the autopsy says. In a search for answers surrounding his uncle’s mysterious death, Son must confront painful family dynamics and his own romantic relationships. In Steep Theatre’s world premiere production, directed by Laura Alcalá Baker, the past squares off against the present for an electrifying and emotive piece of theatre. The Leopard Play will have you wanting to call your parents and go out dancing.
Are you turned on by foxes?
No? That’s probably good; that likely means you are a human with a (relatively) normal libido — and you are probably not, for instance, a roommate of mine who once professed to me his sincere attraction to the rabbit from Zootopia.
It is important to note, however, that furry communities do exist on this weird and wide world of ours, and as long as they are not acting unethically I am loathe to yuck their yum. People have all sorts of strange fetishes that will never make sense to me, but which also do not concern me in the slightest. First Love is the Revolution, though, wants you to be concerned — and not specifically about bestiality, which the play wields as a tool to make you take a hard look at uncomfortable truths. Rather, First Love examines the deluded notion that we civilized, upright humans are at our core any different from the myriad of species we torture, murder, and force into extinction every single day. And through this, of course, it also becomes a metaphor for how we treat each other. Continue reading “A Visceral, Intrusive, and Rip-Roaring Ninety Minutes at ‘First Love is the Revolution’”
Ike Holter’s Red Rex takes a deep dive into the underbelly of making theatre in Chicago, and a brave ensemble of people at Steep Theatre rose to the challenge. The sixth play in the Rightlynd Saga directed by Jonathan Berry gets its name from the fictional theatre company at the center of the narrative, Red Rex Theatre Company. After almost a decade of relatively mediocre production Red Rex has recently taken up residence in the abandoned former home of the Three Lord Gang – one of many easter eggs from the rest of the Rightlynd Universe (the RU, you know, like MCU). Continue reading “‘Red Rex’ is the Clapback Chicago Theatre Never Knew it Needed”
Can you offer help to those who don’t ask for it? This is the central question of Calamity West’s Hinter, now in its world premiere at Steep Theatre. Directed by Brad DeFabo Akin, the play takes as its subject the unsolved murders of the Gruber family on the isolated Hinterkaifeck farm in 1922 Bavaria. Continue reading “Calamity West’s ‘Hinter’ Combines Comedy and Suspense with a Dose of Social Commentary”
Steep Theatre has just extended its devastating and urgently important play, Lela & Co. I wanted to take a moment to recommend this production and encourage people to see it now that it has been extended through September 16th.
I feel so fortunate to have seen Cruz Gonzales-Cadel play Lela in this heartbreaking two-hander opposite Chris Chmelik. Gonzales-Cadel has phenomenal range. We immediately fall in love with Lela as she disarms us with her charm and draws us into her story.We start in Lela’s childhood home with a loving mother and a father who alternates between indulgent and abusive. The limited abilities of women to shield each other from harm is a theme established early. As the dangers around her multiply, we watch Lela transform from an innocent child into a determined and courageous woman. For his part, Chmelik plays a host of villains, each fully fleshed out, each differently evil. Written by the British playwright Cordelia Lynn when she was just twenty-six, Lela is original in every way. Lynn speaks the unspeakable and holds us all accountable.
I won’t describe or summarize the story because much of its dramatic value is in its surprises. We never know what’s about to happen and, like Lela, we feel powerless to stop the cascade of horrors that unfold as she recounts her story. I’ve never felt so much real fear, rage and despair in the theater. A big part of it was knowing, more than a play, what happens to Lela is happening to to girls and women around the world every day.
Lela examines the way women become casualties of war showing how their stories are coopted, their voices silenced and their abuse marginalized. The narrative style creates the experience of being inside the head of a women who has internalized the narrative of her abusers along side the truth of her lived experience. This gives the audience an opportunity to experience the cognitive dissonance that results from trauma. The tone of Robin Witt’s direction creates jarring juxtapositions between the events that happen to Lela and the way she describes them. Lela uses a range of coping techniques from detachment, to rationalization, to minimizing, to self-blame. All the time as her underlying grief, rage and pain are straining to be let out. By the time Lela hits its crescendo and the playwright allows her character to enact a desperately longed for moment of confrontation all the air goes out of the room.
The space has been transformed into an intimate café with limited cabaret style seating and the actors perform on raised platforms above our heads. The action happens around the audience so we’re immersed and therefore implicated in Lela’s predicament. All the design elements seamlessly support this atmosphere of fear and claustrophobia.
I must end with a really big trigger warning here. There is graphic sexual violence both portrayed and discussed. This play deals plainly with some of the darkest subject matter I’ve ever heard onstage. Lela explicates the economic and political circumstances of war and how they enable the exploitation of women. Lynn’s story also reveals the tragic irony of how third party “liberating” and “peacekeeping” forces in conflict zones participate in crimes against women. No, Cordelia Lynn’s play isn’t easy to watch, but it is essential.
BIAS ALERT: Cruz and I know each other from Something Marvelous and have bonded over having children around the same age. Likewise, I know Peter Moore, Steep’s Artistic Director, because our kids were in the same class and I’ve submitted my work to his literary department. All this just means I was already a fan of the theater and of Cruz before I went to see this play.
Extended through September 16th!
Director – Robin Witt*
Stage Manager – Lauren Lassus**
Set Design – Joe Schermoly
Lighting Design – Brandon Wardell**
Sound Design – Thomas Dixon**
Costume Design – Jessica Kuehnau Wardell
Prop Design – Maria DeFabo**
Fight Choreography – Christina Gorman
Dramaturg – Carina Abbaticchio
Assistant Directors – Michael Rogerson & Isabel Perry
Production Manager – Julia Siple*
*Denotes Steep Company Member
**Denotes Steep Artistic Associate