Wine With a Side Order of Absurdity

Things With Friends

Gloom and doom aside, here’s a little tidbit of unpleasant news to chill your blood. Last February, the Doomsday Clock, which signals how close we are to destroying our own world with the technologies we’ve invented, was reset to 89 seconds to midnight. In other words, we’re on a breakneck course of unprecedented danger and risk. Continuing along this course to destruction will be madness. The effects of these human activities on the earth are irreversible, although environmental scientists have pleaded for adjustments to help curb global warming and climate change. And therein lies a tale.

THINGS WITH FRIENDS is Kristoffer Diaz’s latest play, now enjoying its world premiere at American Blues Theater. If the talented and prolific playwright’s name sounds familiar, it could be because you remember his spectacular play at Victory Gardens, THE ELABORATE ENTRANCE OF CHAD DIETY, which was set in the world of professional wrestling. The drama became a 2010 finalist for the Pulitzer Prize. Or you might recall his hilarious farcical comedy at the Goodman, THE UPSTAIRS CONCIERGE. But perhaps it’s because, more recently, Diaz collaborated with Alicia Keys by writing the Tony-nominated book for her autobiographical musical, HELL’S KITCHEN.

Kristoffer Diaz’s latest one-act play is 90 minutes of weird, sometimes wonderful and always unexpected dark comedy, all set against a dystopian version of New York City. The George Washington Bridge has crumbled into the Hudson River, the Lincoln Tunnel has flooded and now it’s raining again. The playwright combines climate change, capitalism, strained relationships and a whole lotta wine with a side order of absurdity. 

Diaz’s play evokes the Theater of the Absurd of the mid-century, particularly certain plays by Edward Albee. A DELICATE BALANCE, EVERYTHING IN THE GARDEN, and Albee’s one-acts like THE SANDBOX and THE AMERICAN DREAM look and sound a lot like this play. Diaz’s new work is also a riff on those old comedies about affluent folks sitting on chic furniture, gorging bougie food and drinks while exposing their deepest, darkest secrets. It’s also a takeoff on dinner party plays like Donald Margulies’ DINNER WITH FRIENDS, Neil Simon’s THE DINNER PARTY or A.R. Gurney’s THE DINING ROOM.

American Blues Theater’s world premiere is shrewdly and carefully Directed by Artistic Affiliate, Dexter Bullard. Known for directing world premieres, Bullard stages his production with precision and power on a gorgeous Scenic Design by Grant Sabin. Taking inspiration from NYC’s Park Avenue condos and Mies van der Rohe’s Farnsworth House, Sabin’s open concept living/dining room is a neutral-toned environment of steel and glass. The room’s skirted by silky, undulating floor-to-ceiling curtains and adorned with tasteful furniture and accoutrements. 

It’s the perfect palatial pad for Burt and Adele, who are patiently awaiting their tardy dinner party guests, Chabby and Vy. Adele reminds Burt that their friends had a “thing” to attend before coming to their “thing.” And, once they arrive, we learn that Chabby and Vy have another “thing” to go to afterwards. As the couple await their friends, “things” are discussed, “things” are grilled and “things” are uncorked and consumed. But when company arrives, a lot of “things” are brought up and bantered about, good-naturedly at first. Then the “things” become deadly serious. It’s also interesting how many times the word “things” occurs in this play.

As always at American Blues, the cast is capital. Nate Santana (IRONBOUND at Raven, THE THANKSGIVING PLAY at Steppenwolf) is quirky and conversational as our guide and the play’s narrator. His name is NYC, and he carries with him a guidebook, to which he often refers. Nate enters through the audience and spends most of the play in the aisles talking directly to theatergoers. NYC provides background, detailed explanations and additional facts to help us understand what we’re experiencing. Sometimes he joins the characters onstage, but appears to be invisible to them. At one point he even stops the play and directs the actors. Mr. Santana is humorous, smooth  and comfortable in this seemingly improvisational role.

Lovely and multitalented Ensemble member Audrey Billings, who’s always so marvelous as Mary Bailey in the theater’s annual IT’S A WONDERFUL LIFE: LIVE IN CHICAGO, is extraordinary as Adele. Casey Campbell, another ABT Ensemble member, is the strong, but reticent Burt. Together this married couple, who have spent many years together, can speak to one another with just a look or a movement. Words seem unnecessary at times. The two seem compatible and comfortable with each other. 

With the arrival of their guests, Chabby, played with a devious  determination by Jon Hudson Odom, and Vy, portrayed with catlike sexiness and her own agenda, by Cruz Gonzalez-Cade, there evolves something unspoken. As the evening progresses, we notice that the relationship between these four close friends begins showing some strain. There’s an acid drip behind their words and a hostility in their body language, particularly from Vy and Chabby. The mood escalates until the unexpected arrival of teenaged Joony, Vy and Chabby’s outspoken daughter. It’s about this time that the real Absurdity of the play rears its ugly head.

American Blues has a real treat in store for the adventurous theatergoer. As they say on the BBC television series, Monty Python’s Flying Circus, “Now for something completely different.” It’s a play stuffed to the gills with themes, ideas and questions. THINGS WITH FRIENDS, filled with fast-paced dialogue, will amuse, astonish and possibly even astound or anger some audience members. But the unexpected events and character developments, served with wine and a side order of absurdity, will be difficult to forget.      

Highly Recommended

Reviewed by Colin Douglas

Presented August 29-October 5 by American Blues Theater, 5627 N. Lincoln Ave., Chicago.

Tickets are available at the box office, by calling 773-654-3103 or go to www.boxoffice@AmericanBluesTheater.com.

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