This ambitious showcase of experimental theater, performance, and music from Chicago’s fringe began as part of the Bucktown Arts Fest. Now it’s produced by the Curious Theatre Branch; in addition to the Curious folks, participating artists this year include John Starrs, Julie Caffey, Michael K. Meyers, Michael Martin, Free Street’s MadJoy Theatrics, and other ensembles and soloists. Taking its name from surrealist painter Salvador Dali’s use of the term “rhinocerontic” (it means real big), the 13th annual Rhino Fest runs through October 13. Performances take place at the Lunar Cabaret, 2827 N. Lincoln, and at Prop Thtr, 4225 N. Lincoln. Admission is $10 or “pay what you can”; for information and reservations, call 773-327-6666.
Following is the schedule for September 19 through September 26; a complete schedule is available on-line at www.chicagoreader.com.
THURSDAY, SEPTEMBER 19
See review in this section. Prop Thtr,
FRIDAY, SEPTEMBER 20
Stalking Spalding Gray
See Critic’s Choice. Lunar Cabaret, 7 PM.
Scott Vehill directs Paul Espel’s play about two men trying to save the small town they ended up in by mistake. Prop Thtr, 7 PM.
The Very Long Kiss
Go Cougars! Theater Company presents Joe Meno’s play about a widower’s second chance at love. Lunar Cabaret, 9 PM.
One Two Three Four Five
See review in this section. Prop Thtr,
SATURDAY, SEPTEMBER 21
The Curious Theatre Branch performs a quartet of stories by Bryn Magnus under Ron Bieganski’s direction. “Magnus’s writing explodes with adventurous wordplay and riveting imagery,” said Reader critic Justin Hayford when he reviewed these pieces as part of Steppenwolf Theatre Company’s “Love & Sin: A Solo Experience” earlier this year. Lunar Cabaret, 7 PM.
Free Street’s MadJoy Theatrics (formerly known as TeenStreet) presents an ensemble-created multimedia piece concerning high school students curious about the meaning of life and death. Ron Bieganski directs the script the actors wrote under the guidance of Bryn Magnus and Bieganski. “‘Dangerous’ is the operative word in this sense-assaulting multimedia performance–though the word’s meaning pitches back and forth throughout the production like a ship caught in a violent storm. ‘I got dangerously close to learning something’ is the mantra repeated by each of the eight teenage performers in Skeptics–and the danger zone seems to be the American educational system. Ironically, the less structure these high school-age characters have, the more education they get–and learning is the ultimate tool for self-actualization, a fact underscored by a recurring image of the actors studiously reading from the stacks of books resting on either side of the stage. But from the moment they enter a school’s labyrinthine hallways, all the usual adolescent concerns–from suicidal impulses to the questioning of our earthly purpose–start creeping out of the woodwork to threaten them. [This] is mind-bending multifaceted theater that tackles the great leap from adolescence to adulthood with jaw-dropping sophistication and courage,” said Reader critic Nick Green when he reviewed the show’s earlier run at Free Street. Prop Thtr, 7 PM.
Truck in Pieces
“Notwithstanding its central character’s mantra–‘I’m not going anywhere; where’m I gonna go?’–Beau O’Reilly’s new play tells the story of a journey. O’Reilly’s Bloom, like Joyce’s before him, spends a long day traveling on the fringes of the urban landscape as he struggles to square his memories with the present. And though every detail resonates with Ulysses, the play also stands on its own as a character study of ‘Truck’ Bloom, a never-was boxer in midcentury Chicago. Between efforts to reconcile with his ex-wife, bail out his son, and protect some puppies, this mensch masquerading as a thug (O’Reilly himself in a perfect performance that earns sympathy without ever begging for it) relives encounters with his father, his ‘jag-off’ brother, and Joey Buzz, a hero of his youth. These three, and many others, are played by the spectacular Guy Massey, whose ability to create a whole new character out of a slight shift in stance makes costume changes almost superfluous. Likewise, he gives boxing such a homoerotic charge that the play’s explicitly gay encounter seems unnecessary. Despite a few such wrong turns, Truck in Pieces portrays the search for redemption with great warmth and depth,” said Reader critic Kelly Kleiman of this Curious Theatre Branch production during its run earlier this year. Lunar Cabaret, 9 PM.
“Julie Caffey’s Underwater Football uses the biblical story of Jonah and the whale as a metaphor for her father’s fall from grace, which she and her brother must confront after their parents’ divorce. But every minute Caffey spends with her face submerged in a bowl of water or dallying with the multimedia elements of her piece obscures her dark sense of humor,” said Reader critic Nick Green when he reviewed this piece as part of Tellin’ Tales Theatre’s “Sibling Revelry” earlier this year. Susan Nussbaum directs. Prop Thtr, 9 PM.
SUNDAY, SEPTEMBER 22
I Can’t Remember Any Kids’ Names on That Trip to Go Drinking in Lake Geneva, Rawkus Down, and Super-Learning With George
This triple bill begins with a monologue by poet John Starrs about high school high jinks. “Starrs’s persona is [that of] a likable guy whose aging brain works in unexpected ways. [His] tale of teenage chicanery–copping fake IDs from a friend, then heading up to Wisconsin for a marathon of drinking–is unadorned. He never bothers with literary flourishes or symbolism. . . . Starrs writes the way most of us think. . . . This is what gives his work its richness, reminding us that the most ordinary events extend in all directions and across time,” says Reader critic Justin Hayford. Johnny Mars’s Rawkus Down is described in festival publicity materials as “a tale about sleaze, greed, and a few good tunes.” Says Hayford: “[This] self-consciously simple story [is] like a children’s fairy tale, [and] Mars reads his text with all the care and fire of a concert pianist playing a concerto.” Super-Learning With George, written and performed by Robin Cline and presented by Theater of the Catbird, imagines an educational seminar by former heavyweight champion George Foreman. “Cline has some difficulty navigating her complicated text. [Her] writing is alluring, but . . . she reads with little conviction. . . . The result is a flat, nearly incomprehensible piece,” says Hayford. Lunar Cabaret, 3 PM.
Interviewing the Dead, a Fictional Autobiography
Veteran performance artist Michael K. Meyers presents this tale of a man seeking communion with his dead father. “Onstage Meyers’s beguiling mix of east-coast cool and midwest gawkiness perfectly embodies his literary style, which artfully combines aloof sophistication and wide-eyed wonder. . . . Interviewing the Dead achieves this delicate balance with more finesse, humor, and psychological depth than anything he’s written in recent years. In Meyers’s trademark fashion, dreamlike elements creep in almost unnoticed, transforming a quaint, quirky episode of marital malaise into a
hallucinogenic romp through Judgment Day. . . . For all its fantastic elements, Interviewing the Dead is deeply poignant, astutely capturing the psychology of inertia,” says Reader critic Justin Hayford. Lunar Cabaret, 7 PM.
See listing for Saturday, September 21. Prop Thtr, 7 PM.
MONDAY, SEPTEMBER 23
See review in this section. Lunar Cabaret, 7PM.
The Mindtick and Midwestern Love Song
The Mindtick, written by Nicole Kupper and directed by Jennifer Huffman, explores the world of a nuclear family. Midwestern Love Song, an adaptation of a poem by Jimmie Cumbie, is directed by Pauline Fatyga. Prop Thtr, 7 PM.
TUESDAY, SEPTEMBER 24
New Antarctica, A Babel Fish for Charlie Brown’s Mom, and Tales From the Crib
The first piece on this triple bill, written and directed by Dan Telfer, involves a man fighting his gregarious alter ego. “Telfer’s funny, poignant New Antarctica explores daydreams as self-imposed exile,” said Reader critic Kerry Reid when she reviewed the show as part of Flush Puppy Productions’ “Night Visions” last year. Rory Jobst’s A Babel Fish for Charlie Brown’s Mom concerns a 1970s video game pioneer; Tales From the Crib, by Laurel Haines, examines the darker side of family life. Lunar Cabaret, 7 PM.
WEDNESDAY, SEPTEMBER 25
A history professor returns to the small western hometown she abandoned after high school in Heidi Broadhead’s play. “Broadhead’s script is constructed on several levels: the characters speak of doing ‘scenes’ or don professorial spectacles to address us from an imaginary downstage podium. . . . This many conceits could easily become chaotic, but Ned O’Reilly’s dexterous direction quickly dispels the initial . . . confusion, establishing characters and their eras despite a uniformly youthful cast,” says Reader critic Mary Shen Barnidge. Lunar Cabaret, 7 PM.
THURSDAY, SEPTEMBER 26
See review in this section. Prop Thtr,