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Old Wicked Songs
By Jon Marans
Directed by Christopher Prentice
Produced by Signal Ensemble Theatre
At Chopin Theatre
1543 W. Division
Chicago, IL
Call 773-347-1350, tickets $15 - $20
Thursdays at 8 pm
Fridays at 8 pm
Saturdays at 8 pm
Sundays at 3 pm
Monday, Dec. 3 at 7:30 pm
Wednesday, Dec 12 at 7:30 pm
Running time 2 hours, 20 minutes with intermission
Through December 30, 2007
“Art consists of knowing the basic rules and realizing when it is time to deviate from them.”
“Life is not clear cut.”
“The combination of joy and sadness - this is the core of truly beautiful music. Just as it is the core of drama. Of life.”
“Sadness and joy. When a composer finds both, the result is Mozart. Beethoven. And how do they acquire this perfect combination? Why do some countries give us great composers while others not?. . . Because [they] have not prolonged national suffering.
“. . . each person has but one story in him. Tell it to everyone and its meaning is cheapened.”
---Jon Marans from Old Wicked Songs
Brilliant two-hander emphasizes the redemptive power of music
Kudos to Signal Ensemble Theatre for mounting Jon Marans’ 1996 drama, Old Wicked Songs now playing in the studio at Chopin Theatre. This is a brilliantly structured work that combines two worthy characters in a struggle of cultures, generations and attitudes utilizing classical music as the motif for acting out personal demons. We hear Robert Schumann’s (1810-1856) song cycle for voice and piano---Dichterliebe. Director Christopher Prentice has mounted a fast paced work on R. Brad Criswell’s interior apartment set that suggests Old World Europe. 
Stephen Hoffman (Shawn Pfautsch) is a 25 year old burned-out child prodigy who has lost his confidence in his piano abilities. He is an emotional empty, brash, yet technically brilliant musician who travels to Vienna in 1986 to combat an artistic block that threatens his music career. He is forced to study with an old curmudgeon teacher before he is allowed to work with a master piano professor. Josef Mashkan (Vincent L. Lonergan) is a passionate, quirky master voice teacher who makes Stephan sing before he is allowed to play the piano. Mashkan believes that Stephen needs to feel the conflicting emotions of sadness and joy in order to find his musical self.
Playwright Jon Marans has structured his work using the song cycle of Schumann’s Dichterliebe as a powerful learning tool to unfold the emotion, tension, conflict and resolution in Stephan. Schumann’s music both binds the two men as it helps melt the stubbornness and miscommunication between the two musicians. We learn that Mashkan is also battling his own demons. This intricate structured play unfolds smartly without the usual young versus old, Old World versus New World values falling into predictable outcomes. Indeed, as each reveal their Jewish identities and explain their initial lies, the play takes on heightened significance beyond mere professional performances problems.
The conflict and ultimate conciliation between the two complex men is marvelously played out with excellent performances by Shawn Pfautsch and Vincent L. Lonergan. Each emotionally reach the truth in their characters and each play off each other brilliantly. Both are accomplished musicians equally at ease with Schumann’s piano work. Pfautsch’s rich vocals carried enough emotion to carry Marans meanings. Vincent L. Lonergan’s angst was effectively communicated through moments of humor and pathos. Pfautsch’s wonderful imitation of the piano styles of Vladimir Horowitz, Glenn Gould and Alfred Brendel was a hoot. Both play Schumann’s song cycle with verve. We see Mashkan dominate Stephen early and eventually Stephen breaks through to be able to help Mashkan tame his demons.
Old Wicked Songs deals as much with ethnic and national identities as it does with personal demons in both characters. We see how conflict is resolved through the power of redemption through music. This finely crafted drama is emotionally heartfelt. Rich in music and excellent character development, Old Wicked Songs is a theatrical tour de force and a true work of art. Lonergan and Pfautsch’s respectful and truthful performances are their finest work to date. Don’t miss this show.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: November 26, 2007
Jeff Recommended
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