Circle Theatre Presents THE VIEW UPSTAIRS Review – Reinventing Paradise

You walk into a distinctly seventies gay bar, complete with an old-fashioned jukebox. The walls feature a golden gilded ornate clock, colored with age, an enormous nude portrait of Burt Reynolds, and gaudy maroon velvet curtains. String lights cascade from the ceiling, with an inconspicuous disco ball hiding the corner for later, and a blue and purple neon sign reading “Cocktails and Dreams”. The bartender encourages you to stay for a while and talk back to her, and a pianist wearing a sparkling blazer starts to jam with the ensemble and the patrons. As the lights change to start the show, a few minutes further pass without anything occurring but the continuing hustle and bustle of this diverse and vibrant community. This is a home for those who feel lost, a sanctuary for those who need it, and a party for those who deserve it.

An Intimate Bad Trip

The story of The View Upstairs revolves around the arson of the Upstairs Lounge in New Orleans in 1973, one of the deadliest attacks on a gay club before the shooting at Orlando’s Pulse Night Club in 2016. Wes, a struggling fashion design prodigy played with panache by Kevin Webb, buys the smoldered establishment as a last ditch effort to save his career, and his life. Then through some unexplained combination of haunting, the supernatural, time travel, and some cheap cocaine, Wes is transported to the Lounge in its heyday, where the tenants show him the meaning of acceptance, perseverance through unimaginable odds, love, and community. Those who have an interest in LGBTQ or civil rights history will enjoy the coloring of the era with real human stories. The music is jazzy, rocking, and soulful, similar in ways to Spring Awakening, Hair, Murder Ballad, or even the music of Elton John. If you want music you can feel and a beat you can tap your feet too, while also feeling completely at ease, this is a must see.

Characters to Love and Remember

The character work in this show is reason alone to see it, at least from the perspective of this actor and playwright. Frederick Harris and Cailin Jackson are Willy and Henri are downright delightful, and bitingly funny. Willy is a wise “old queen”, having spent time in the gulags and turning tricks in his youth, while Henri is the aforementioned sassy bartender, who keeps everything in order and fiercely loves her patrons. Put them together and you have an explosive reaction. Harris started one song with impressive passionate riffs, only to be topped by Jackson interrupting a few measures later, to his surprised chagrin. Another wonderful relationship you’ll get to see blossom is between Freddy, a Puerto Rican drag queen, and his ever-supportive mother Inez, played by Ruben Melendez Ortiz and Selene Perez respectively. They create a deep familial love on stage, complete with cute and caring winks and lip smacks, that stands strong through many trials and tribulations. Look out for Completely Overdone, where Ortiz and Perez adorably argue about exactly how risque Ortiz’s drag should be, as well as stealing each other's lipstick.

Circle Theatre Breaks the Musical Monotony

You, like this writer, might feel that the true pop of this show comes in how the direction subverts the traditional musical theatre format. During a traditional love ballad, for example, the audience guffaws as one unlucky ensemble member realizes that he is stuck in the middle of the two partners’ choreography, and makes an awkward but hilarious exit. In the middle of another exciting party number, the bartender has a relatable exasperation at the explosion of glitter over her previously fresh floors. If you love musical theatre but get bored with the repetition, or hate musical theatre because of the cliche, The View Upstairs is a welcome step forward, and a damn good time.

Highly Recommended

Note: This is now added to the Picture this Post round up of BEST PLAYS IN CHICAGO, where it will remain until the end of the run. Click here to read – Top Picks for Theater in Chicago NOW – Chicago Plays PICTURE THIS POST Loves.

Cast:

Kevin Webb
Averis I. Anderson
Jeff Bouthiette
Frederick Harris
Caitlin Jackson
Rubén Meléndez Ortiz
Selene Perez
Robert Quintanilla
Eric Lindahl
Matt Frye
Jennifer Ledesma
Ben F. Locke
Cari Meixner
Juwon Tyrel Perry
Roy Samra

Creative:

Derek Van Barham
Jon Martinez
Jeff Bouthiette
Jimmy Jagos
G. Max Maxin IV
Chris Tuttle
J.C. Widman
Denise Yvette Serna
Tyler Miles
Nicholas Reinhart
Bobby Arnold

Cast:

Kevin Webb, Averis I. Anderson, Jeff Bouthiette, Frederick Harris, Caitlin Jackson, Rubén Meléndez Ortiz, Selene Perez, Robert Quintanilla, Eric Lindahl, Matt Frye, Jennifer Ledesma, Ben F. Locke, Cari Meixner, Juwon Tyrel Perry, Roy Samra

Creative:

Derek Van Barham, Jon Martinez, Jeff Bouthiette, Jimmy Jagos, G. Max Maxin IV, Chris Tuttle, J.C. Widman, Denise Yvette Serna, Tyler Miles, Nicholas Reinhart, Bobby Arnold

When:

Thru July 22, 2018
Mondays, Thursdays, Fridays and Saturdays at 8 pm
Saturdays and Sundays at 2:30 pm

Where:

The Broadway at Pride Arts Center
4139 N. Broadway
Chicago, IL

Tickets:

$30.00, Monday Industry nights $20
Circle Theatre Website

Photo by Cody Jolly Photography

 

 

Note: An excerpt of this review appears in Theatre in Chicago

NATE HALL
Nate Hall Photo: Jeff Day

About the Author

Nate is an actor/composer/playwright currently based in Chicago, and originally from Los Alamos, New Mexico. He is the first graduate of Texas Tech's BFA Musical Theatre program, and has been acting for over six years, performing in the Provincetown Tennessee Williams Festival and Santa Fe Musical Festival, among others. His plays have been featured in one act/ten-minute play festivals, and his musical Fade Out had it's first reading in December 2017.

See his current work at actornatehall.wordpress.com or on Facebook

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2 thoughts on “Circle Theatre Presents THE VIEW UPSTAIRS Review – Reinventing Paradise

  1. You might want to know that the “golden, gilded ornate clock, colored with age” is original decor that came with the building, which is a former speakeasy. When a production of THE ADDING MACHINE played there in the 1990s, the actor portraying Mister Zero climbed up the clock face in the course of the performance.

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