Karma Can Be a Bitch

Veal

Do you remember what it was like to be a middle school student? We were immersed in a microcosm of friendships and cliques, cool kids and nerds, teenagers who were at the top of the food chain and those unfortunate kids who provided their nourishment. Figuratively speaking, the veal. Veal is the high-priced beef that comes from a young calf that’s kept in a confined space and fattened up, only to be slaughtered while it’s still a baby. For those middle school kids who are at the bottom of the food chain, they are the veal.

Entering A Red Orchid Theatre, the audience is immediately struck by the sight of an unsettling, two-person tableaux positioned at one end of a tiered platform. A pretty young woman sits motionless at the center. Behind her, a wall of full-length mirrors reflect the audience, as they arrive. The girl wears a sparkling crown. She’s also dressed in an elaborate ballgown (by gifted Costume Designer Izumi Inaba), seemingly pieced together from a variety of different fabrics, and topped with a fur stole. The young woman watches as the theatergoers take their seats, offering very little reaction. Near her stands a handsome young man in sunglasses. He looks very smart, clothed in, what appears to be, a butler’s formal ensemble. 

The thrust Setting, handsomely Designed and Lighted by Tianxuan Chen, looks as if it’s made of expensive white marble, and features a kind of runway that extends from the multi-leveled stage to the audience. Theatergoers sit close to the action on three sides. Above them hangs an accumulation of assorted tchotchkes. They appear to be treasured artifacts and memorabilia salvaged from someone’s childhood. But the young woman, to whom they belong, is hoarding far more than just stuffed animals, school trophies, old recordings and some scrapbooks. She’s haunted by a collection of traumatic memories from middle school.

Welcome to the desolate, dystopian world that was once the United States. In Jojo Jones’ World Premiere that opens A Red Orchid’s 33rd Season, we meet Chelsea, who has somehow been chosen to be the Queen of North America. Outside her luxurious  palace life is a very different landscape. All that remains is a bombed-out world of rubble and decay. Those who’ve survived the battle and bloodshed live in caves and makeshift tents. They’re sick, starving and nursing life-threatening wounds and diseases.

Into the palace approach a trio of battle-scarred and bruised young people. Chelsea is surprised to see her three former classmates; but the trio of friends are just as surprised to discover their once nerdy sidekick is now the ruler of North America. The three friends include Franny, Lulu and Noa. Thirteen years ago the three teens made life a living hell for Chelsea. She was the veal for these self-entitled teens. After Chelsea complains that no one visits her unless they want something, Franny cautiously broaches the group’s real reason for coming to see the Queen of North America. Bedridden at home, Franny’s sister is a Type 1 Diabetic and is in desperate need of insulin. In order to secure the lifesaving drug for her little sister, Franny, Lulu and Noa must submit to Chelsea’s strange demands. She doesn’t want to simply reminisce about their days together in middle school; Chelsea demands that her former schoolmates relive key events from their young lives together. And the results become shocking and brutal because Karma can be a bitch.

Once again, Director dado brings her incredible talent and skill to A Red Orchid Theatre. She’s become noted for orchestrating and guiding captivating new dramatic works and producing some truly memorable productions, such as last season’s SIX MEN DRESSED LIKE JOSEPH STALIN. And the Director also seems to always assemble the most talented casts of actors for her productions.

Having appeared in the dado Directed, Jeff-nominated role of Beth, in A Red Orchid’s excellent IN QUIETNESS, Alexandra Chopson is powerful and passionate as a once put-upon kid. She’s who’s out to right the wrongs that she endured by her “friends.” The actor says so much through her eyes, and a lot of Ms. Chopson’s dynamic performance comes through her character’s silences. As the others plead with her for something or play along with her wishes, notice Chelsea’s finely tuned reactions and how she subtly changes who she is.

Jojo Brown, who plays Franny in this production, made her debut as the mysterious Mr. Riley at A Red Orchid in Harold Pinter’s, THE ROOM. Also Directed by dado, Jojo proves to be an even finer actor in this larger, more pivotal role. Since middle school, Franny has changed and, since the American armageddon, is now driven by the need to help others survive. Jojo is seemingly in charge of the other characters, especially Lulu (nicely played by Carmia Imani, in her A Red Orchid debut) and Noa (portrayed with grit and gumption by Alice Wu). Both actors have worked all over Chicago, with Ms. Imani performing as an ensemble member of A Short Leap Theatre Company, and Ms. Wu in THE SKIN OF OUR TEETH with Remy Bumppo. And both actors are terrific in this production.

Jasper Johnson, who portrays the curious “Unnamed Male Concubine,” worked with dado when he understudied for IN QUIETNESS, at A Red Orchid. As a young man chosen by the Queen to serve her every need, he’s there to provide props, costume pieces and furniture, upon command. Jasper seems almost inhuman, almost coming across like an automaton. Thus, when he cuts loose and laughs or cuts a dance move, Mr. Johnson provides a moment of welcome humor in Jojo Jones’ fascinating new play. His character entrances Noa, who’s positive that she remembers him working at the nearby credit union. Of course, Jasper denies any past relationship.

 Jojo Jones’ World Premiere is extremely interesting and highly entertaining. There’s a certain amount of mystery that permeates the atmosphere of the play, and we are never truly sure about where the events are heading. But this is a fascinating fable about getting what you give and pent up retribution for the past. Upon leaving this often amusing, sometimes frightening 

90-minute one-act, the audience can only ponder that old adage that, when it comes right down to it, Karma can be a bitch.          

Highly Recommended

Reviewed by Colin Douglas

Presented September 25-November 2 by A Red Orchid Theatre, 1531 N. Wells St., Chicago.

Tickets are available in person at the box office, by calling 312-943-8722 or by going to www.aredorchidtheatre.org.

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