The Dr. Will See You Now, With Stellar Results.

By Lazlo Collins
The loveliness of “Freud’s Last Session”, now playing at the Mercury Theater, is not only revealed through the splendid writing, but also with the amazing performances of the two fine actors in its grasp. In this new launch with Mike Nussbaum as Sigmund Freud and Coburn Goss as C. S. Lewis, these are performances of the highest caliber.
It is the very day that Britain will enter the war on 3 Sept. 1939 and Dr. Freud has agreed to entertain one C. S. Lewis. At this juncture, Freud is ending a brilliant career, while Mr. Lewis is just coming up on his own notoriety.
C. S. Lewis made the conversion to theism and, of course, Dr. Freud was the founder of psychoanalysis, who gave little credence to religion. With their views securely intact, with their ages in opposition too; the gentlemen talk, spar, and search to find meaning in each other’s opinions and theories.
This 90 minute conversation reveals the lives of these two men through a script that is both heavily informational and lightly playful. Their careful interactions and choices for words, finds these two literary powerhouses challenging themselves, as well as each other with their own beliefs and philosophies.
Mr. Nussbaum’s portrayal of Dr. Freud is amazing. He commands the stage with his presence and demeanor. His mannerisms and timing were impeccable. I felt his pain and his force when challenged with his beliefs and illness. (Dr. Freud suffered from an oral cancer ultimately taking his own life on 23 Sept. 1939) With his passion for his beliefs and softer side revealed during this lovely London meeting, Mr. Nussbaum brings Freud to life for theater goers to saver. I did not want this show to end.
Mr. Goss’s performance was no less stellar than that of his on stage partner. His polite, yet probing, meeting was perfect. His performance was understated and charming. A less capable actor would have reduced this role to a secondary one, but Mr. Goss matched the energy and nuance his role deserved. His insistence with Dr. Freud about his conversion was a tender and respectful; his compassion for a man dying was touching among uncertainty the war itself.
The speculation of whether these to literary persons ever met sparked the very writing of the play.
After seeing “Freud’s Last Session” it did not matter if they met or not, it was thrilling to see these two men deliberate about the core beliefs that guided them every day. The debate of whether God exists or not, will continue long past the closing of this short, satisfying theatrical conversation; but it will be the audiences pleasure to experience these debates through the minds of these real life characters.
I hope that among the spot on, comforting set of this show lays a copy of “The Chronicles of Narnia” and “The Ego and Id”. It would be a fitting tribute, but yet again, the writer (Mark St. Germain), Mr. Nussbaum and Mr. Goss have already done that.
Get off the couch and go see this theatrical jewel.
“Freud’s Last Session” runs through 15 July 2012 at the Mercury Theater. Call 773-325-1700 or go to www.mercurytheaterchicago.com

This “Rent” Is Due Your Full Attention.

By Lazlo Collins
I must disclose at the beginning of this review that I was never one of those super “Rent” fans. In 1996 when “Rent” was on Broadway, it was a SENSATION. It was a groundbreaking musical of the ages. Well, I got on board the “Rent” bus a bit late. Finally, when I went to see “Rent”, I enjoyed the music, I loved La Boehme, and it was great; it just wasn’t my favorite. I felt myself wanting to yell, “Stop whining and get a freakin’ job!” Wow, so judgmental, right?
I further must disclose that when I first saw “Rent”, I myself was losing someone I loved from AIDS, and that somehow I just wasn’t ready to embrace the musical’s messages and intricate relationships.
And here we are, at the American Theater Co. and About Face’s current collaboration of “Rent” directed by David Cromer and it moved me for the first time. I was ready to experience the story of love, art, and AIDS in a time of turmoil.
This high energy and gritty production hits the mark, and moves through the 90’s with all the force needed to sustain the story through its paces. While I am not sure that ALL the messages stand up through time; but the intentions of love, understanding, acceptance, and someone taken too soon are all themes that are explored beautifully in this production.
Kudos to Cromer for keeping the feel of a gritty warehouse or city street, placing the audience as if just spectators to the scenes unfolded in the profile style staging. It kept me searching the playing area for actors and action; but allowing for some fantastic staging in songs like, “Santa Fe”, “I’ll Cover You, reprise”, and “Finale A”.
The energy of the songs and the acting was immediate and in your face. I enjoyed each character as they moved through their own stories. The supporting ensemble cast was up to the task as well.
Roommates Mark Cohen (Alan Schmuckler) and Roger Davis (Derrick Trumbly) get the ball rolling with conviction and intensity in their respective roles. Mr. Schmuckler is a delight in his role as documentarian and smited boyfriend. He is sweet and loyal, while his character grows throughout the show. Mr. Trumbly grew on me as his character discovers his own voice after the discovery of HIV. Both voices were excellent.
The shows happenstance couple Tom Collins (Alex Agard) and Angel Dumott Schunard (Esteban Andres Cruz) proves love is alive in the time AIDS. Well sung and acted too, I might add. I enjoyed each man’s energy. I especially enjoyed Mr. Cruz’s more real approach to Angel. It was refreshing to see this character as a real person, and not just a man in drag acting like a girl.
The playful couple of Joanne Jefferson (Lili-Anne Brown) and Maureen Johnson (Aileen May) are as opposite as they may be. Both are talented singers and actresses. I loved Ms. Brown’s warm voice and sweet smile. Ms. May exudes a confidence necessary for her bravado character. Her conviction in Over the Moon” was especially good. Ms. Brown shows her skills on the duet with Mark Cohen in “Tango: Maureen”
As Roger’s love interest, Mimi Marquez (Grace Gealey) comes on strong as brash misunderstood femme fatale. Ms. Gaeley puts in a well-played performance. I really enjoyed her naïve moments, that were street smart but emotionally immature. Her role is unforgiving in its predictability. I thought she played the character with believability; not to mention pleasing vocals.
I was really struck by the great acting in this production. The acting combined with the singing was believable, isn’t that the point anyway? At very particular times, the vocals seemed strained; while the quieter moments of the music seemed more successful for the audience. It seems they will need to tweak there sound amplification system to maximize the vocals. I was on the other side of the house from the band and sometimes they were too loud. This is an easy adjustment that will only improve what is a pleasant soundtrack.
Congratulations to the artistic design crew. Collette Pollard‘s warehouse set, with simple, but well placed graffiti, and Christmas décor is perfect. Lighting designer Heather Gilbert put lights everywhere, but kept the mood mysterious and somber. David Hyman’s costumes were superb. I LOVED the dirty, ripped, but appropriately ragged costumes for the main characters. Angel’s “holiday outfit” was an appropriate homage to the original costume, but with a more real, gritty feel.
I would be remiss without mentioning the band. The pit was alive with many layers of sound and fury; seemingly like far more instruments than actually on the premises. Thanks for making the music great.
And finally, Mr. Cromer brings experience and style to this production. This is a difficult undertaking and is overall a success. He deconstructs the observational pop of the original production, and brings us more ‘in-to” the story as it is happening, as if it happening to us all over again. Taking us back to the ‘90’s, with the loss, the love, and the music the stage will NEVER forget.
“Rent” runs through 17 June 2012 at the American Theater Company, 1909 W Byron in Chicago. For tickets call 773-409-4125 or go to www.atcweb.org

Photo Credit: Michael Brosilow