“Walk On The Wild Side” review by Julia W. Rath

[rating=3]“Walk On The Wild Side” is a collection of four short one-act plays written by John Patrick Shanley. The Chicago premiere fleshes out characters who suffer from low self-esteem and don’t know who they are or what they need to be happy. Through a series of vignettes that depict very different slices of life, we see how all the characters are miserable. They try to compensate through the company of others, especially through sexual relationships: some of which are successful, others not so much. The common thread linking these stories is “Why do you find me interesting?” What makes this show very different from others is that the unexpected and crazy pop up when you least expect it. The layering of the absurd over real life situations provides an interesting twist to each and every vignette—and this becomes the theatre of the absurd. You have to like absurdity and adult-themed sophistry to like the existential drama in this 2-hour, 10-minute show (with a 15-minute intermission).

“The Dark”, directed by Kayla Adams, has to do with a wife (Katherine Shwartz) who is unhappy in her marriage and has shocking dreams that she wants to murder her husband (Max Stewart). She goes to a psychiatrist for answers. The question is whether Jesus Christ (Adriel Irizarry) saves her marriage or whether He encourages her to go through with killing him. This story has lots of subconscious elements.

“I’m Going to Touch Your Neck”, directed by Monet Felton, has to do with turnabout. Steve (David Stobbe) goes to a masseuse (MarieAnge Louis-Jean) in order to get a sexual massage—because his friend Keith recently had such a great experience. But the masseuse tells him that to fulfill his needs, he has to massage her instead. My guest found this to be the most esoteric of the four short plays. I found this story to be the simplest and the best of the four.

“Glamour”, which is intimacy directed by Carolyn Hoerdemann, depicts a couple (Sarah Brooks and Tim Weinert) in a New York City apartment getting to know each other. One moment it seems as if they will culminate their relationship; at other moments, they appear more distant. As they become intimate, the “ghost” of Harvey Weinstein (Rossana Disilvio) suddenly materializes and explains to both of them what women really want in a relationship. Both the man and woman are disgusted by Harvey, and they are offended that he has made his way into the apartment. Harvey describes the underlying fascination with celebrity, wealth, and power as they relate to sexuality in our society today. On one level, what he has to say is despised by both characters; on another level, this is the most farcical of the four stories.

Lastly, in “After the Deluge”, directed by Rashaad Bond, two women sit outdoors and want to enjoy their own space alone in different ways. While the first (Lydia Moss) sits on a bench, the second (Barbara Burns) takes out a yoga mat and does asanas. As each does their own thing, it is evident that they are disturbing each other. But as things turns out, they really crave companionship: having someone else to talk to and someone else in their lives, emotionally and physically. Neither one really wants to be alone. Note that the title refers to being shut in during COVID-19 and regaining the opportunity to interact with others in person.

The entirety of “Walk on the Wild Side” can be funny while taking on some very serious topics. These four short plays portray individuals who struggle with themselves. We see them suffering through self-imposed limitations rather than going for the gusto. We see their agonies and their vulnerabilities, especially how they manifest discomfort with their sex lives. The stories when taken together illustrate how so many people go through the motions of living without fully understanding why they act the way they do; then they try to cope in ways that may or may not be comprehensible to others. Never boring, this show has some segments which are crazier than others—and the word “wild” is in the title for good reason. Much of the language is earthy and forceful, especially if you like hearing the f-word. The set, props, and lighting are very plain, if not amateurish, but that’s in keeping with the existentialism theme throughout. What I liked most about this performance was how all ten actors exude very high energy in their roles. It also led to a meaningful discussion afterwards between myself and my guest about what it takes to find yourself and lead your best life.

“Walk on the Wild Side” is playing in the basement of Grace Church, Logan Square, 3325 W. Wrightwood Avenue, Chicago, through June 25, 2022. (Enter on N. Kimball Avenue.)

Tickets are: $15 plus a $0.38 service fee.

Performance schedule:

Fridays and Saturdays – 8:00 p.m.

To purchase tickets, see: https://www.palehorseplayhouse.org/tickets or
https://www.palehorseplayhouse.org/event-details/walk-on-the-wild-side-by-john-patrick-shanley-2022-06-17-20-00 and scroll down.

For more information about this show or for general information about Palehorse Playhouse, visit: https://www.palehorseplayhouse.org/.

In accordance with the COVID requirements set forth by the League of Chicago Theatres, the audience must wear masks at all times during the performance, except when actively eating or drinking.

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “Walk On The Wild Side”.