Rivendell Lose Momentum at Their 30th? “No Such Thing”
By Nick Nicholas with Wes Hessel
Rivendell Theatre Ensemble, a Chicago-based theatre that focuses on exploring women’s stories in an intimate storefront is celebrating its 30th anniversary with the world premier of “No Such Thing”, a new play written by ensemble member Lisa Dillman and directed by Malkia Stampley. No one person or entity would have 30 years of experience if they weren’t excellent at what they do…
The world premiere of this new body of work succeeds in how very well it is staged, lit, costumed, and performed by actors who invite us in, with their talent and ability, to transform the modern characters in the play to modern real people who are interesting, inquisitive, enticing, sensitive, even irresistible. The ensemble keeps the audience going with their motives and actions with smart and often poetic dialogue.
Susan Gosdick is Ren, the woman who is a mother, a wife, and aspiring writer. A good looking woman in her sixties, she navigates a fine line between her own identity and desires, with the traditional roles of a wife and mother. Ms. Gosdick does a beautiful job on stage approaching and responding to the many aspects of her identity in delivering the facets of multiple characters she represents with honesty and empathy. She succeeds in becoming a part of an audience’s reality that identifies her struggles as she risks tradition for a newfound found woman within, who gambles everything to win, or lose it all.
Ms. Jessica Ervin is Oivia, the daughter – she has developed her character with grounded certainty and honesty as a young woman who fights to leave her past of anxiety and clinical depression behind, and start a new life. Her character mirrors a part of everyone’s past who got afraid and misguided themselves. She asks for the freedom for anyone who is tied down by worry and uncertainty by a loved one. Ms. Ervin delivers this quest to freedom and although wounded, we are convinced she has persevered in her fight to reclaim herself.
Josh Odor as Fallon, the man object of affection, plays his part with confidence, strutting, flirting, and has the right amount of cocky arrogance to makes those on stage want him, and hate themselves for not being able to deny him. He delivers Fallon as the intellectual good looking man, who prides himself on his blue collar raw masculinity, taking us for a ride on a journey from Chicago to Oaxaca, Mexico as playwright Lisa Dillman wants him to take us…
Matt DeCaro is Ted, the father and husband who has been made invisible, and while seemingly relaxed and content in the safety of daily routine, Mr. DeCaro gives us a man whose anger is brewing for being taken for granted, as many of us do when we secure another’s loyalty and devotion. He ultimately erupts in protest and lets the audience know that this actor is capable, experienced, professional, and versatile. The hardest of main characters to portray are the ones who have the least amount of lines/dialogue. They respond to the happenings on stage participating silently as spectators. This is how we know Matt is a pro when his moments arrive.
Last, but most definitely not least, is Cheryl Hamada in the character of literary agent Marilyn. True to life, everyone needs some comic relief in our dramatic hard to handle moments; everyone needs a break to sit back smile, laugh, and make fun of one’s self and others. Cheryl is most delightful in making us feel all that, the release by humor we all need, playing her character of friend, confidant, coach, and consultant with natural ease, and with great timing, as if this stage is her very own TV sitcom show being taped before an audience, and she should have one. Perhaps sometime as she brings her character to life in every performance, a major TV network executive producer casting agent will come see the show and snatch her, and the others. Marilyn is the character person we all want in our lives – joyful, honest, loving, and imparting her wisdom while we share our turbulent emotions looking for guidance and reassurance. I loved the choice of casting an Asian-American actress who defies and demolishes any racial stereotypes, with candid humour, great talent, and undeniable conviction.
None of the above would be possible without a significantly competent director such as Malkia Stampley with the assistance and calls to creativity of a set design by Lauren Nichols that is so creative in how it becomes a room in a no-tell motel, a living room, a kitchen. There’s something very metaphorical in sliding doors that hide and reveal. Evelyn Danner’s costume design choices speak of fashion that’s contemporary and it’s spot-on for what these characters would wear. Costuming did its job to showcase a stage family with visual appeal for character enhancement. One can’t transform a finite stage in changing locations without the talents of a light designer like Madeleine Reid who chooses soft, harsh, warm, cool, stark lighting to designate and define the space where the action takes place. We also congratulate the many others in different capacities, who worked hard to stage a play in this time of our collective culture, about this time of how we go about living today’s life. Kudos to all for a job greatly done.
All of the above was created and made real by playwright Lisa Dillman. It is extremely hard to write a play today about today, with seemingly simple drama conflicts and resolutions heightened for the stage, while keeping an audience interested and entertained. She does all that and more. If we didn’t have a talented artist such as Ms. Dillman pen a production, we wouldn’t have theatre, we wouldn’t have actors, a stage, a forum, a stadium where we come together as an audience to celebrate who we are, and leave satisfied, yet curious to explore the uncomfortable, and unconventional in us and others.
What impressed me in looking for personal meaning and value was a revelation of sorts that we all experience the same personal and social struggles as we navigate life to self-actualisation. Ms. Dillman shares with us what she knows, with a sound and right-on archetype of what today is and should not be because of each other. It shouldn’t be as challenging, and agonising, yet it is the same for all. Our wins celebrate and share personal achievement with joy and promise for a much improved self of tomorrow. Do go and see this significant show – give the Rivendell artists another 30 years to play for us. They have earned it and deserve it. But after April 27th, there will be “No Such Thing”, so go now to witness this wonderful work; please see www.rivendelltheatre.org for tickets or more information.
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