Genuine Winners

Good People

After suddenly losing her minimum wage-paying job, Margaret (affectionately called Margie, with a hard “g”), a middle-age single mom struggling to make ends meet in South Boston, needs to find work fast. Margie pleads with Stevie, the young manager of the Dollar Store, to give her one more chance. When begging doesn’t work, Margie unloads her problems on her two best friends, Dottie and Jean. As Margie’s landlady, as well as her babysitter, Dottie is brutally honest about the shoddy situation. If Margaret can’t come up with the rent for her modest apartment, Dottie’s going to let her married son move into it. Then Margie and her adult daughter with special needs will find themselves out on the street.

While at the local Bingo Hall, where Margie hopes to win some money toward the rent, Jean tells her friend that she ran into Mike, from the old neighborhood. Margie dated Mike for a while, back when they were high school, and she hasn’t seen him in years. Jean informs Margie that Mike is now a very successful Boston doctor, and suggests that she should contact him. Her former boyfriend might have a job for her, or maybe he’ll know someone else who’s hiring. When Margie gives in and surprises Mike at his office, he disappoints her at their uneasy reunion in many ways. But when Margaret learns that Doctor Mike’s wife is throwing him a big, lavish birthday party, she finagles an invitation, with the hopes that one of the guests might have work for her. But rather than everything working out favorably for Margie, some unexpected complications arise.

David Lindsay-Abaire (a multiple Tony Award-winner for the musical, KIMBERLY AKIMBO) was the recipient for the 2011 Pulitzer Prize in Drama for this beautifully-written play. GOOD PEOPLE says a lot about people and economics fifteen years ago but, the way this country is currently being run, the play seems especially relevant today. Mr. Lindsay-Abaire’s sensitivity toward his struggling middle class characters is especially touching, meaningful and authentic. His empathy and affection takes its aim at every hardworking individual who’s doing everything possible, just to make ends meet. Margaret is such a person. She’s brave, tenacious and a truly good woman until push comes to shove and desperation begins taking over. But, in always trying to do what’s right, Margie becomes a model heroine who is also a victim. In the end, however, Margaret, along with her circle of friends, are painted as GOOD PEOPLE and genuine winners.

There’s so much to celebrate and recommend in this polished, professional production by 4 Chairs Theatre. Lauren Berman, the Founder of 4 Chairs, has previously directed several excellent musicals, such as RIDE THE CYCLONE, ISLAND SONG, SPRING AWAKENING and BE MORE CHILL. She was also a guest director at Paramount for a thrilling, more intimate production of WHAT THE CONSTITUTION MEANS TO ME.The multitalented Ms. Berman has staged and guided this production with a great deal of love for both the subject and its characters. Ms. Berman spins this story of socioeconomic disparity and class division, stressing the sometimes rocky road of friendship. Ultimately she reveals what it takes for these characters to be GOOD PEOPLE. And it’s an exquisite revelation.

The entire cast is extremely talented. Jodi Kingsley is sensational as Margie. The diminutive Ms. Kingsley is funny, brutally honest and easily elicits the audience’s empathy for the unfortunate situation in which she’s caught. Critically acclaimed for her performances in HOWARD’S END at Remy Bumppo, MEN SHOULD WEEP at Griffin and WRENS with Rivendell Theatre, Jodi Kingsley absolutely owns the stage in this leading role. Ms. Kingsley’s performance is one of the best reasons for seeing this production.

But the supporting cast is truly an ensemble of equally gifted performers. Wendy Hayne (LAST NIGHT IN KARAOKE TOWN, Factory Theater) is wonderful as Jean, Margie’s painfully honest, gossipy friend; Maggie Cain (THE GLASS MENAGERIE, Merry-Archie Theatre; MEN SHOULD WEEP, Griffin Theatre) is absolutely delightful as the cynical, but hilariously blunt Dottie (picture Estelle Getty as Sophia Petrillo on “The Golden Girls”); and Steven Horn, a relative newcomer to Chicago theatre, candidly portrays Stevie as a likable, frank and straightforward young man, but ultimately a good person. 

Bryan Breau (NIGHT OF THE HUNTER,  RUR, HOUSE OF IDEAS, City Lit; THREE SISTERS, Invictus Theatre) is matchless as Mike. He portrays a proud man who’s risen up from his lower middle class roots to become a successful doctor. When he’s unexpectedly reunited with Margie, Mike has conveniently forgotten their close personal history together, as well as what it means to be a member of the working class. And as Kate, Mike’s lovely, elegant African-American wife, Sandra Adjoumani (THE HOUSE THAT WILL NOT STAND, Invictus Theatre) is simply superb. It’s as if the role had been written especially for this talented actress. Her scenes, both with Mike alone and with Mike and Margie together, are a textbook lesson in acting the truth. Sandra plays Kate as classy, smart but reserved. She realistically portrays her character, particularly as Kate reacts during an evening of new, fast-changing facts between her husband and her houseguest.

A special shoutout to award-winning set designer, Kevin Rolfs. His versatile and easily adaptable scenic design makes excellent use of the intimate Theater Wit stage. His design focuses on the contrasting details that amplify class difference between the two main characters. His setting features a grungy alley behind the Dollar Store, the kitchen of Margie’s modest apartment, Mike and Kate’s plush, beautifully decorated home in a more affluent section of Boston, and even a no-frills Beantown Bingo hall. The production is nicely lit by Trey Brazeal and even more realism is added through Petter Whalback’s sound design. All the characters really spring to life through Anika Splettstoeszer’s authentic-looking costumes.

4 Chairs Theatre’s production of David Lindsay-Abaire’s GOOD PEOPLE is a thoroughly enjoyable, must-see comic drama. Beautifully directed by Lauren Berman, with terrific, realistic performances by a gifted cast, the themes of class difference, morality and our eternal economic struggle feels especially relevant today. This sharp, thought-provoking play tackles the wealthy inequality in America, but avoids doing it through hackneyed stereotypes. All the characters seem real, as does the play’s conflict. Ms. Berman’s production is funny, yet gritty and wickedly true to life. The sparks begin to fly, especially as the difference between classes emerges, that’s when the playwright’s message truly begins to shine through. In the end, it’s the GOOD PEOPLE who become the genuine winners.        

Highly Recommended

Reviewed by Colin Douglas

Presented July 17-August 23 by 4 Chairs Theatre at Theater Wit,  1229 W. Belmont, Chicago.

Tickets are available in person at the Theater Wit Box Office or by going to www.4chairstheatre.org.