PerformInk Review Roundup

The following is the review from Kevin Heckman, published in Performink:
It’s hard to say what to make of Six Dead Queens and an Inflatable Henry, now appearing at Piccolo Theatre . Tucked away in a still-in-use train station in Evanston, it’s an odd piece to discover after climbing stairs, crossing the platform itself (replete with riders waiting for their train) and entering into what appears to be a small café. From there a short hallway leads to a tiny, but well-appointed theatre, complete with the nicest lighting instruments you will see in a house this size and a few dozen padded folding chairs on platforms.

Six Dead Queens is closer to sketch than theatre. Originally created by Foursight Theatre in the UK, it bears clear signs of multi-author origins. Each of the six queens speaks with a distinct voice, but there is no real effort to create any narrative throughline or dramatic arc. Instead we move from scene to song to scene as we learn bits and pieces about each of the six women who were, for better or (more often) for worse, married to King Henry VIII. Apparently the ladies are caught in some sort of strange limbo that allows them to all share one room and one large bed where they play various games, read the papers, fight, joke and tell (or often reenact) favorite stories from their lives.

The piece was done without a director, which shows with a little bit of sloppiness at certain points, but clearly there was some sort of outside eye to help with the stage pictures, which are surprisingly varied given the limited location. The six actresses—Amy Gorelow, Dani Bryant, Brianna Sloane, Leeann Zahrt, Nicole Keating and Denita Linnertz—are of various skill levels. The women all play instruments as well, including Gorelow on cello and Zahrt on flute, accompanying themselves on a variety of songs. Zahrt, who originally introduced the piece to Piccolo, is a gifted physical comedienne who clearly enjoys the role of “the ugly one,” the little remembered Anna of Cleves. Linnertz has a commanding presence as Henry’s final wife, the imposing Catharine Parr.

In the end, this is an ideal piece for the discerning audience member who enjoys a blatant fart joke (the play begins with a long one) and appreciates the trivia of English history. At 90 minutes, Six Dead Queens… is short enough not to overstay its welcome. And if some of the sketches become a bit tedious…well something new will be along shortly. One thing is for sure: you will not see this piece again produced in Chicago, so if it sounds intriguing, you’d best get up to Evanston and check it out.
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Dear Mr. Heckman,

In response to your review roundup about the Intriguing "Qeens", the "Queens" would like to propose a challenge to you: Why not broaden your definition of theatre? It seems that you arrived to the Piccolo Theatre show expecting the traditional "dramatic composition" consisting of characters who act out a story and have a resolution at the end of the piece.

Why not consider "theatre" as a broad definition? Theatre is so much more than a plot line. It's a exploration of character. It's the interaction with the audience (fourth wall or no, the audience is a participant in the performance regardless of whether they are voyeurs or if they actually interact with the characters). The definition of theatre, especially for Chicago audiences, is so much more than you give it credit for.

The fact that The Evanston Arts depot is in a train station truly speaks to Chicago-style "storefront" roots. If there's a space where a set can be placed and an audience put in, call the space a theatre. Call the performance a piece of theatre. Call all elements of the production theatre, but do not let the term "theatre" limit your imagination.

So, from the bottom of our hearts, thank you, Mr. Heckman. Thank you for taking the time to visit one of the quirkier and interesting theaters in town. We appreciate being noticed!
-The Queens