“Keely and Du”

[rating=4]Over the years, attending plays at redtwist theatre has always been a solid experience. This is the true store front theater. It is in reality two stores on Bryn Mawr Avenue that have been converted into a theatrical space. One section of the stores is the lobby, dressing rooms, bathrooms and the other, the “stage” area. The seating changes with the production they are doing so there might be 40 plus seats or as many as 66, but you, the audience, will be as close to the action as they can place you. In fact, if you sit along the wall, you may feel the breath of an actor or two during some tense moments. Now, on to the wonderful production of “Keely and Du”!

As you enter the theater area, you will see that we are either in a basement that is going to be finished or has just been insulated. We are in Providence Rhode Island, and it can be 2019. The “room” contains a bed, a porta-potty, a rocking chair, a table with books and magazines and a small refrigerator. The door to the outside has a combination security lock and if one looks closely, the bed frame has handcuffs and chains connected to same. The walls are plastic lined and for the most part, this is probably a basement of a building.  Du ( as always, a solid performance by Jacqueline Grandt, who I love watching on stage) and Walter ( deftly played by Ben Veath) are awaiting the arrival of  Keely ( powerfully played by Keisha Champagne, making her Chicago debut, and may I say with a “bang), who we learn has been raped and is with child.

Walter and Du are very “Christian” and part of a orgamization that is anti-abortion. They have kidnapped Keely from  the Midwest to bring her, hold her and await the birth of the child. This is a powerful topic with powerful words and messages. Written by a woman (Jane Martin) this play was a finalist  for a Pulitzer Prize many years ago. The story is one that fits today just as it did twenty years ago.

Sharply directed by Ted Hoerl, “Keely and Du” is 105 minutes ( no intermission) of tense drama, and shows us that in matters such as these, each person’s feelings and beliefs can be right, at times. The captive, Keely was raped by her ex-husband, Cole ( Joe Edward Metcalfe) who we meet later in a scene that truly shows off Champagne’s talent. During the majority of the play, we see a strong relationship built between the captive and her captor. Du, a nurse has been doing this work for some time and understands her captive. As they become “friends” their relationship gets to a point where one feels that the attitude of Keely will change.

I certainly will not tell you what takes place after the visit from the supposed, transformed ex, Cole, but will tell you that the scene is tense and powerful and considering the nearness of the audience to the action, you will feel that you are that proverbial “fly on the wall”. If you are pro or anti, understand that this story is designed to open minds and make people think. It was written a long time ago, but is probably still happening in our world today.

On the tech side, the set by Alyssa Mohn) is quite realistic and the lighting (Cat Davis) and sound (Averi Paulsen) just right. The costumes (Rachel Sypniewski)  and props (Willow Rakoncay) very fitting and the fight/intimacy direction by Alexis Black well done.

“Keely and Du” will continue at redtwist located at 1044 West Bryn Mawr thru November 10th with performances as follows:

Thursdays 7:30 p.m.

Fridays  7:30 p.m.

Saturdays  7:30 p.m.

Sundays  3 p.m.

Tickets are $35 and $40 with $5 off for students and seniors.

To reserve yours, and remember this is a small venue, call773-728-7529 or visit www.redtwist.org

Valet parking is available at Francesca’s, across the street. There is limited free street parking on the side streets and meters on Bryn Mawr. On Sundays, the meters are not in use ( FREE).

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “Keely and Du”.