We all know LA is full of vapid, empty shallow people whowould push their mothers off a cliff for a two-line part in a terriblepilot. Chicago, on the other hand, isfull of true artistes that work together with an ensemble approach that, ifgiven the chance, would settle the strife and misery of the world in shortorder. With Meisner. Also, LA is where all the really good actors go to do real workwith all the other great actors that are beloved by all the world. Chicago is where those that aren’t goodenough basically make pretentious, -important ‘plays’ that were really edgy in1954. Or were big hits OFF-OFf-offBroadway a few years ago.
In Johnny Theatre, now playing at the Chemically ImbalancedTheater, we find out what happens when these two worlds collide and let me tellyou gentle readers, it ain’t pretty. Butit is funny, so you can laugh through your tears. I know I did. Whether you are a Chicago actor or an LA actor this play hassomething to make you feel superior and pathetic about yourself. Everybody wins! Ish!
The play stars Chicago’s answer to Zach Galifianakis,Anderson Lawfer, as a big movie star guy (Jonathon Duva) that comes back to hisold theatre company to stage his terrible play. The company is broke and going nowhere, so of course they agree. But LA people are assholes, even when they buy you dinner,so the rehearsal process doesn’t go very well.
If you have ever been in a storefront theatre production,you will see a lot of crazy things that are kind of sad because it’s reallypretty much like that. Treading theline between the outrageous and outrageouslyaccurate, Mike Beyer and Kirk Pynchon pull offa pretty neat trick.
Early on we meet the cast of the Duva’s play:Dexter (a stoned Dante Bugli) is that slack-ass actor thatnever have his shit together, is always late, but will probably get a JeffNomination and a national commercial. Richard (a mustached Arne Saupe) the ‘old pro’ that is onlydoing this show at such a ‘small’ company because he wants to get as close tothe movie star as possible. Holly (a neatly groomed Alison Clayton ) is theactress that is convinced that everyone wants to bang her. Ray (a caleby Caleb Probst) is plays that really sweet guyin the cast that decides at the first read through that you and him are goingto be best pals and will never leave you alone.Stage Manager Phil (a thank you 5 minutes Bryan Beckwith) isthe long suffering poor sap that has to wrangle these poor souls. Elizabeth (a not in the boat Lauren Bourke) is that pooractress that a director can tell is so eager to please that they always totallyfuck with her.Kathi (a $50 stipendly Alexandria Frenkel) is theintern. I think you can guess what Duvadoes to her. And Artistic Director Dana (a level-headed, devoted, overworked, underpaid Casey Pilkenton) isthe level-headed, devoted, over worked, underpaid Artistic Director that we allknow and should have empathy for.
And the you will be surprised at how nice and understandingthe landlord of the theatre turns out to be! Dana and Bob the landlord (a dashing Chicago Residential Landlord TenantOrdinance Michael Derting.)
So you’ve got the diluted Hollywood actor and this cast offamiliar Chicago theatre types. The playbeing produced is a musical that takes place in the Depression called‘Dusty’. The premise of ‘Dusty’ isridiculous and yet it is as good, or better then a lot of what you will see insomeone’s 2012/2013 season brochure.
Representing LA is (fair toothed) Catherine Dildiian as aperma-smile Hollywood reporter and (beautifully headbanded) Ray Ready playsDuva’s ever jogging assistant withpanache, style and gayness. In the 2nd act we meet the new French directorGeorge (a surrender-ly Adam Schulmerich) and we know this project isdoomed. Let’s face it; the one thingthat will always sink a Chicago off-loop production is a French person.
I think that is really the lesson here. As hard as it is to mix the divergent worldsof Big Shouldered Chicago and Big Everything Los Angeles there is one thing wecan all agree on. The French areterrible.
As a consumer advocate I would suggest you go see this playif you’ve ever been in, produced, seen or know someone involved in a storefronttheatre production.
17 stars!
-Michael Dailey
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