Daddy Issues

Gangsta Baby

When walking into Open Space Arts, theatergoers will need to select their seats while working around a skimpily-clothed young man shadowboxing in the middle of the intimate theater space. The man’s name is Junior and he lives in Hastings, England. Dripping with sweat, Junior is built like a gymnast, all muscles, quick physical responses and sharp punches and jabs. And, although you might miss them because they blend in with the theatergoers, seated among the audience are three other actors. They will eventually enter the ring, as it were, and morph into the other characters who populate Junior’s world. Some are in the present; others are from his past. This is the corporeal and violent world of GANGSTA BABY.

Junior is a hunky, good-looking twenty-something young man. He also happens to earn his living in jolly old England as a gay sex worker. Seductively portrayed by the multitalented Cameron Raasdal-Munro (who’s also the playwright of this new one-act), we meet Junior as he welcomes a new client named Mitch. The nervous, but horny client is played with charisma and plenty of appeal by Bryan Nicholas Carter. Junior aims to please, in every way possible. He’s most accommodating as a role player, able to instantly transform into anyone a client might demand. Junior switches between a professor, a youngster, a daddy, and many other roles. Since men like Mitch are paying for this service, the customer gets to call the shots. And, of course, the customer is always right.

Junior seems to be quite popular and in great demand. While the servile sex worker is plying his trade, the phone keeps ringing, there’s knocking at the door and outside car horns loudly sound the arrival of new clients. But Junior is shocked when he finally opens the door to find Senior, his callous and brutally sadistic estranged father. Senior (played with power and conviction by Josh Odor) has returned to England, but the reason isn’t immediately evident. However, it’s clear that Junior is going to have to deal with some daddy issues. 

As the 95-minute drama flips back and forth between the past and the present, we view Senior as a younger man, enjoying the favors of a guy named Jonno (also played with sexy spunk by Mr. Carter). Switching to another locale, we also witness Senior intent on teaching, nurturing and grooming Junior, his young son, trying to propel him into a better life than his own. Senior’s sadistic fathering skills are both painful for young Junior to endure and difficult for the audience to witness. And Senior, despite his own questionable, sordid past, has now turned into the titular gangster and a homophobic father to his son.

In the fast-moving scenes that follow, where we observe Junior as  a young man, we behold Junior’s close relationship with Pete, a whip-smart young trans fellow and his best buddy. Pete is both a tattoo artist and a graffiti whiz. They’re played with vim, vigor and incredible skill by a new, gifted young actor named Jensen Knudson. Later in the play, the diminutive young Jensen switches gears, beautifully portraying a seductive but violent French woman named Remy. Her affiliation with Senior is especially nefarious. But remember that name: Jensen Knudson is one talented young actor and someone to watch.

This is a fascinating play and, as boldly Directed by Rikki Beadle-Blair, one terrific production. It’s violent, sexy and yet beautiful in its sadistic, almost poetic portrayal of Junior’s world. This show makes the best use of the limited, intimate Open Space Arts venue that I’ve seen so far. Not only does Beadle-Blair stage his production all over every inch and corner of the theater, he takes his actors out onto the street, into the bathroom, up and down the entry steps and, habitually breaking the fourth wall, even involving certain audience members. The performances he’s extracted from his quartet of actors is a tribute to the Director’s gift, as well as their own individual talent.

The tech team add so much to this production and need to be recognized. Their contribution to the production is powerful. Jade Andrews’ Costume Design is simple and character appropriate. Phoebe Huggett’s brilliant Set Design is grounded in colorful, expressionistic street art. Graffiti can be found tagged on every wall, pillar, step, door and even the floor of the venue. Mood, tone and tempo are blended together, courtesy of both Lex Newman’s creative Lighting Design and a palette of precise and evocative Sound by Zach Stinnett. The Director has also provided some fine, Original Musical compositions that sometimes fill the air. R&D Choreography Designed all the realistic episodes of Violence, and Christa Retka has Coordinated the moments of Intimacy with care. And Jason A. Fleece has done a masterful job as the play’s Dialect Coach.

GANSTA BABY is a real surprise. It’s potent and powerful, a violent and almost barbaric story about sex, identity and daddy issues. It features excellent performances by four brilliant actors that are layered, honest and filled with fire and passion. This new British play will no doubt introduce Chicago audiences to a world they’ve never known. But Open Space Arts’ production of Cameron Raasdal-Munro’s American premiere is a theatrical experience they won’t soon forget. 

Highly Recommended

Reviewed by Colin Douglas

Presented September 19-October 5 by Open Space Arts, 

1411 W. Wilson Ave., Chicago.

Tickets are available at the door or by going to their website, www.openspacearts.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com