Mueller-2011-1 Escape the Winter Doldrums with The Hypocrites Summer-Fun Pirates of Penzance The Pirates of Penzance inspires

a mix of different reactions and expectations. The name of offloop Chicago director, Sean Graney, is no different. Graney, now stepping down from his position as Artistic Director of The Hypocrites, is known for his often quirky and/or edgy productions. At the very least, The Hypocrites aim to provide you with a fun evening and a fresh, unique theatre experience. Youd hardly expect the names The Hypocrites and Gilbert and Sullivan to be heard in the same sentence let alone seen in the same theatre. However unexpected, Graney decided to tackle the rigid Victorian operetta and transport it to the basement of Wicker Parks Chopin Theatre. This was not your mothers Pirates. Graneys version, which ran approximately 80 minutes as opposed to G&Ss usual two and a half hours, was outstandingly more accessible to modern audiences while still enjoyable to those familiar with the original. The music was rearranged by Kevin ODonnell into more playful orchestrations to be performed on a myriad of instruments (acoustic guitar, ukulele, harmonica, saw, etc) all played by the acting ensemble while they were both on and off stage. ODonnells orchestrations were well tailored for the vocal talent among the cast and, while the castparticularly the female chorusdoes not meet the vocal standards an opera demands, the casts energy (and I saw a matinee) never faltered to carry them through. Mabel and Ruth, each played by Christine Stulik in a unique, and later confusing, double-casting choice by Graney, filled the room with a voice one would expect to hear in a traditional production of Pirates and Matt Kahler, The Pirate King, may as well have been Jimmy Buffet, and that is a compliment. The staggering levels of talent demonstrated by these actor/musicians are rare at this pay scale, and lets face it: Frederic, played by Zeke Sulkes, is ten times more naturally seductive when accompanying himself on acoustic guitar. Not to be outdone, designer Tom Burch and Graney complimented ODonnells cheeky renditions of the popular score by transforming the playing space into a sort of neighborhood summer fiesta. The primary playing space, a boardwalk running through the center of the space, was flanked by

Mueller-2011-2 kiddy-pool-topped picnic tables while the ceiling is painted by a canvas of colored Christmas lights and the floor adorned with coolers and balloons. The cast kicks back in sun dresses and short shorts, occasionally popping the top on a can of Fresca, and enjoying the explosion of summer tucked away from the icy Chicago winter. Graney and his artistic team significantly reinvented the mood of Gilbert and Sullivans masterpiece both audibly and visibly, but the fun was not about to stop there. Not only was The Hypocrites Pirates condensed into a non-theatre-geek audience friendly length, it also invited the audience into the action. Graney, known for his allegiance to producing theatre in promenade, modified his usual promenade model, in which there are scarce to no seats available to patrons, to include a variety of seating options both within and surrounding the action. Audience members were, of course, encouraged to stand and welcome to move with the action as they wished, but the demand was less forceful and the environment and experience more relaxed for those audience members not wanting to be put on the spot. While a funky, fresh look at an old classic, Graney doesnt allow his concept to outshine his performers. However, an 80 minute run of Pirates is not achieved without a significant amount of cuts and, those audience members who are not particularly familiar with The Pirates of Penzance as penned and composed by Gilbert and Sullivan could require a life preserver to safely float on with the story. Graneys choice to cast Stulik as both female leading characters: Mabel, the Major Generals daughter and reformed pirate apprentice Frederics love interest, and Ruth, Frederics nurse since childhood, culminates in confusion that cannot be abated by her talent. That is, both Ruth and Mabel compete for Frederics love and Graney leaves it unclear in the final scene which of the two women Frederic marries. In fact, a line is added in which Frederic asks Wait, are you Mabel or Ruth? and is answered with I dont know! While worthy of a laugh, the lack of a dutiful choice by the director disrupts the laidback Jam Session atmosphere the entire production is framed by.

Mueller-2011-3 Though a trite confused as to the conclusion, theatre geeks, Gilbert and Sullivan fans, hipsters, and Joe Normal alike will emerge from the basement of The Chopin smiling and tickled by Graneys imaginative and playful reinvention of an often tired and exhausting theatre experience.