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The Violet Hour
By Richard Greenberg
Directed by Mikael Tara Garver
Produced by UMA Productions
At Chopin Theatre
1543 W. Division
Chicago, IL
Call 773-347-1375, tickets $15
Thursdays thru Saturdays at 7:30 PM
Sundays at 3 PM
Running time 2 hours 10 minutes with intermission
Through May 6. 2006
“We live our lives in “the violet hour – ‘that wonderful New York hour when the evening’s about to reward the day’…’The violet light you walk between that hastens you places…’” -- Richard Greenberg from The Violet Hour
The Violet Hour is an eccentric look at knowing the future
Richard Greenberg’s mastery of language allows The Violet Hour to flourish on several levels. Utilizing dazzling portions of linguistic prowess, Greenberg’s wordplay and metradrama (a play that has characters comment on their own activity or self-reflection) works nicely to create a period piece (set in 1919 New York) that becomes a transitional portal full of fantasy and verbal combat. The Violet Hour is densely wordy with five characters each commenting on the work’s themes with delicious language delivered in nicely paced scenes that keep us guessing.
Greenberg’s genius lies in his clever use of time, the concept of ‘the violet hour and the year 1919 as a transition in time or history. Time is a fleeting concept that lends a mystery to life. Uncertainty prevails. We witness the characters as transitional as they focus on their possibilities. They have just ended a phase in their lives and are not certain what will come. Diverse characterizations of early 20th Century personas representing class, race, gender and age come together to perceive the emerging horizon.
The most daunting task for John Pace Seavering (Dennis Grimes), an ambitious young publisher in early 20th Century, is choosing between publishing the work of his old friend and college buddy, Denis (Cliff Chamberlain) and the work of a lover, Jessie Brewster (Lily Mojekwu), an older black woman jazz singer.
Suddenly, a mysterious machine appears and begins to spout unsettling news about the future. Unhappy with what destiny has dished out, John scrambles to make good and recreate the lives of his friends.
Greenberg has Denis comment on the classes with the following:
“Why is it only the rich who never have money to do things?…I’ll tell why: It’s because the poor are always seeking opportunities while all the rich want are limitations. You’re terrified by the vastness of what’s available to you so you devote yourself to these fictional constraints which, being unreal, are insuperable. And who suffers for it? I do!” Denis’ plea for John to publish his book. John’s lover asks, “Which story will you tell?”
Is Greenberg asking if our lives are prewritten or can we change the outcome?
Could we change the future if we could see it? This theme has some insightful twists that give this play depth and subtle power. Greenberg’s asking us to view life with the same illusion that we view The Violet Hour on stage as happening in the present moment, played out as drama whose outcome is unknown, yet we know that the play is scripted, rehearsed and the outcome is the same each performance.
Greenberg challenges us to consider, “What if life’s like that? What if the experience we have of our lives, as potentiality is an illusion? What if the script is already written and agonies and exultations we suffer are an entertaining diversion?”
Director Mikael Tara Garver has assembled five outstanding actors to expound his verbiage. Cliff Chamberlin as Denis was likable, exciting and vulnerable. Audrey Francis as Rosamund Plinth displays sensuality and enough kookiness to make us love her. John Zinn as the manic office helper, Gidger, steals many scenes and energetically paces the show. Zinn is a marvel to see on stage. Dennis Grimes, as John Pace Seavering, has enough suave insecurity and Jimmy Stewart persona to propel the show’s story, themes and action. Lily Mojekwu, as Jessie Brewster, overwhelms us with her powerful stage presence. Mojekwu’s nuances can convey volumes with one, well-time gesture or facial expression.
The chemistry of the five actors gave life, funny moments and charm to this quirky complex show. A fantasy about fate, loyalty and ambition only works if we care about the characters. In The Violet Hour, we are vested in the decisions these characters make because we are they and they are we.
Greenberg asks us to consider that even if we know the outcome of our lives (this play) to pay attention to this moment, watch how it happens and enjoy the virtuosity of its execution. In this play and our lives, he reminds us to “enjoy it anyway.”
The Violet Hour is a rare theatrical experience, which immerses us into the process of the play as much as into the story. Don’t miss this important, funny and insightful show.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com
Talk Theatre in Chicago podcast
Date Reviewed April 22, 2006
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