***** I must start my review of a new stage version with music of “Brokeback Mountain”, by advising you that I did not see the Academy Award winning film, or read the novella by Annie Prouix. Rather than go into the theater at Chicago Shakespeare with zero knowledge, I did do a Wikipedia, so I understood that this is a love story. It is not the typical love story, but is about two cowboys, who while taking on a job at Brokeback Mountain, find themselves and each other. They both go their separate way, get married and have children, but once again find themselves seeking that “something special” that took place during that time and place.
This adaptation by Ashley Robinson is a 90 minute ( no intermission) small cast play with music that brings this story from book and film to live theater and does so with great power. The music written by Dan Gillespie Sells is sort of a narrator/balladeer ( Kat Eggleston is terrific) and the musicians, led by Jacob Yates make the production something special.
Directed to perfection by Jonathan Butterell on an amazing set designed by Tom Pye ( who also designed the costumes), the scene changes are quick and easy. The stage itself has set pieces that come out of the floor and back, so the only thing ever brought on stage to add are a few charis. Smooth as silk is what one has to say about the flow of action as we bear witness to 20 years of a special relationship between these two cowboys. Jack Twist is played to perfection by Jack Cameron Kay and Ennis Del Mar is deftly handled by Harrison Ball.
The other cast members are Cordelia Dewdney as Alma. Ennis’ wife, Alina Jenine Taber as Lureen and ensemble and the incredible Thomas Cox as three different characters ( Jack’s father, Bill and Joe Aguirre- I think many of the audience members thought three different actors played these roles, until the curtain call when only one other man showed up. The technical aspects of this production are also amazing. The entire set with the campgrounds, fire, cacti, snow, rain, lighting ( David Finn), sound ( Christopher Shutt), and sound recreation (Stephanie Farina) are all right on. The fight and intimacy choreography was done by Zev Steinrock and is quite realistic.
I was mesmerized by the props in this play. I could not find the name of the person or group that handled them, but it appears that for the firs several scenes, it would be an army. We had pots and pans, silverware, a campfire, mugs, plates, and a host of items that are specific to camping and just being cowboys. Adding the music/narrator to the story helps to tell the audience how deep their feelings go out to each other. It also has its own voice allowing us to hear the things left unsaid. I do not want to give away much of how this love story ends, so I will just tell you that the story allows us to feel that no matter what takes place in one’s life, there is always hope that one day you can go home.
As I said earlier- I did not read the novella or see the movie, but had no problem falling in love with the North American Premiere production of “Brokeback Mountain” now on stage at Chicago Shakespeare. The play will continue through June 28th with performances as follows:
Tuesdays 7 p.m.
Wednesdays 1 p.m. & 7 p.m.
Thursdays 7 p.m.
Fridays 7 p.m.
Saturdays 2 p.m. & 7 p.m.
Sundays 2 p.m.
ACCESSIBLE PERFORMANCES
Audio Described Sunday, June 21st
Open Captioned Wednesday June 24th 1 p.m. and 7 p.m.
ASL Interpreted Friday, June 26th 7 p.m.
FYI- They do have a screen for Closed Caption to the right of the stage, so I suggest you order seats using the LEFT door if you need this particular service
Show Type: Drama with Music
Box Office: 312-595-5600
800 East Grand Avenue ( Navy Pier). If you park in garage, bring your ticket to theater for validation and save money
To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “Brokeback Mountain”
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