“Windows” reviewed by Frank Meccia

Schutz has been writing plays since his days at the University of Iowa, and Windows demonstrates a writer who understands how ordinary lives can contain complicated dreams, disappointments, and possibilities.

The story takes place in what could be described as Any Town, USA, and centers on three very different people whose lives have become intertwined.

Olivia, played by Lucabella Sangin, is a former soccer player whose promising career came to a tragic end after an accident on the field. She is now recuperating in the apartment of her lover, Natalie, whom she has known since college.

Natalie, played by Vinita Dixit, is an introvert who rarely tells people how she really feels. She isn’t much of a complainer, either. After failing to get into medical school, she has settled into what appears to be a dead-end job, while trying to maintain her relationship with Olivia.

The third member of this unusual household is Clay, played by River Ruiz, who owns the apartment. He inherited it after his boyfriend left him for what he considered a better job in San Francisco.

Put these three people together in a small apartment and you have plenty of opportunities for conflict.

Olivia, unfortunately, isn’t exactly the ideal houseguest. She has become a total slob, using her injury as an excuse not to move forward with her life. She mooches off the people around her, looking for sympathy, food and attention rather than taking responsibility for getting better.

But Olivia does have one form of entertainment that becomes central to the play: looking out the window at her neighbors.

Lipschutz has been a fixture in Chicago theatre for more than a decade. His plays have been performed internationally in more than six countries, and he is also a member of Hell in a Handbag Productions.

But the real standout for me was Ashley Kramer.

Kramer takes on at least five different characters, and each one is distinctly different. Her ability to switch personalities, voices and mannerisms is impressive. One of her strongest skills is her delivery, particularly when she launches into a rapid-fire monologue. She speaks incredibly fast while remaining remarkably precise, and on several occasions the audience rewarded her with enthusiastic applause when she finished.

As Windows develops, we begin to understand that all three main characters are struggling with their own versions of disappointment.

Clay finds himself considering whether to return to a failed relationship, even after achieving a much-sought-after promotion. Natalie begins to realize that if she wants her relationship to grow and survive, she needs to become more open and honest about her feelings.

And Olivia must eventually face the biggest challenge of all: herself.

She needs to understand that she can get better, that she can accomplish more, and that she cannot allow one terrible accident to define the rest of her life. She has to decide whether she is going to allow that tragedy to turn her into a bitter person—or use it as an opportunity to become a better one.

And that is where the title Windows becomes particularly meaningful.

All three characters spend their lives looking outward, watching the world and imagining what other people are doing behind their windows. But ultimately, they are really looking at themselves. Their dreams, fears, failures and hopes are reflected in the lives they imagine beyond the glass.

There is something universal about that idea. We often look at other people’s lives and imagine that they have something we don’t. We create stories about strangers without knowing what is really happening behind their doors. And sometimes, those imagined lives can tell us more about ourselves than they do about the people we are watching.

Thetechnicalaspectsoftheproductionalsodeserverecognition.ScenicDesignerHayleyWallenfeldthas createdacleverandeffectiveapartmentsetting.Themainwindowsfaceawayfromtheaudience,whilethe backlit windows in front of us allow the audience to see what Olivia is experiencing as she looks into the lives of her neighbors. It is a simple but very effective theatrical device that helps bring the concept of the play to life.

That said, there is plenty of promise here.

Matt Schutz has created an interesting premise with characters who are flawed, funny, frustrating and, ultimately, human. Taylor Pasche’s direction gives the production a strong theatrical identity, particularly in the way Olivia’s imagination and the lives she creates through the windows are brought into the apartment.

For a world premiere, Windows is an intriguing beginning. It may still have some growing to do, but that is part of the excitement of seeing a new play for the first time. You get to watch a playwright’s idea come alive—and perhaps see the beginning of something that could have a life well beyond this production.

Windows runs through August 23 at the Center on Halsted, Hoover-Leppen Theatre, 3656 N. Halsted St., Chicago. Parking is available in the garage downstairs.

If you enjoy supporting new playwrights, world premieres and Chicago’s ever-growing theatre scene,

Windows is worth taking a look through.

Tickets can be purchased at the box office or at www.pridearts.org. Showtimes are Thursdays- Saturday at 7:00pm, Sundays at 3\:oopm. Tickets are $35, Seniors and Students receive a $5.00 discount, for more information call 773-661-0770