And up in the nursery, an absurd little bird, is popping out to say "Cuckoo" … or something else, I don’t truly know. What I do know is that this line from Rodgers and Hammerstein’s The Sound of Music pretty much sums up the feel and experience of The Cuckoo Theatre Project’s Commedia Dell’Arte tour de force The Green Bird. Under the innovative guidance and vision of director Donny Kolakowski, a fantasia of old school slapstick, contemporary comedy and social comedy and storybook charm come together in such a way that makes the audience feel almost voyeuristic, with an elevated perspective of the endearing fable and zany antics unfolding in the enchanted woods of the “Kingdom of Hearts,” complete with (among other things) mythical fowl, talking statues and warbling fruit.
The silk-screened backdrops that looked like the masterpieces of preschool Picassos and Rembrandts proudly plastering their parents’ refrigerators (even the stage’s wooden floor pattern appeared as if it was scribbled by a child) definitely played into the show’s fairy tale and folklore theme. The way the setting incorporated brightly blazing bulbs set in vanity style and carefully drawn and constructed broke Baroque proscenium, complete with Cardboard and Crayola, art and crafts class reminiscent insignia could have come off either funny or – dare I say it – cheap. Luckily, the Cuckoo Theatre Project’s crew accomplished the former and the background and stage design aesthetically enhanced the production’s youthful, silly bedtime story theme without being juvenile. Kowalski and TCTP (as it is fondly known)’s imagining of Carlo Gozzi’s 18th Century narrative creatively and hilariously updated in Hilary Depiano’s adaptation was brought took flight with the help of inspired lighting design. Michael Rathburn’s lighting illuminated the fabulous and imaginative story of an ancient kingdom far far away turned topsy-turvy.
The production and storytelling is inspired and remains faithful to the Commedia and fairy tale tradition, providing just enough adult humor (although Richard Costes’ interpretation of Brighella, the evil henchman and twisted lover of the witch Smeraldina, may take the innuendo a bit too far at times), to make it like a really funny Disney movie trying to provide a little something for the adults forced to watch. The masks with impressive protruding schnozes that looked created by Amber Lee Oliver (who also inhabits the role of the tired, frustrated destitute clown wife and surrogate mother to the royal twins Francheschina) gave the production just the right touch of mystique and whimsy and made it clear that this show was committed to the true art and tradition of Commedia that is The Green Bird’s roots. Furthermore, the costuming (The Green Bird puppet constructed from a shiny, chartreuse silk curtain and lime-colored Jo-Ann fabric feathers deserves special mention) that looked like the results of rummaging in Grandma’s attic and your kindergarten class’ dramatic play dress up bin not only supported the whimsical theme for this envisioning of Gozzi’s work but contributed to the production’s humor and the sense of not taking itself too seriously/being able to poke fun at oneself.
The incorporation of modern, pop culture-based humor made this production of Gozzi’s classic Italian comedy completely relevant for the modern audience that laughed out loud at all of the contemporary laced satire. From the malicious Fata Serpantina appearing in Lady Gaga’s infamous meat dress and referring to her reptilian lackies as her “little monsters,” to the bumbling, yellow-bellied royal vizier Pantalone’s playing Stevie Wonder’s “Isn’t She Lovely” upon the love cursed King’s entrance into the castle, the modern jokes and references were timely and gave the production a particular je ne sais quoi and trendiness that just worked in Kowalski’s fractured fable imagination of a Commedia classic. Additionally, sound engineer Gail Gallagher’s incorporation of vintage-inspired Post Modern Jukebox interpretations of contemporary pop hits by “Mother Monster” and Carly Rae Jepsen added to the ambiance of antique fused with á la mode that made TCTP’s presentation truly charming. Although the false endings and cavorting around the black box theatre’s quaint main stage with choreography that was simplistic yet at the same time captivating and as charming as Cinderella’s prince to a ragtimey yet still effervescent “Call Me Maybe” cover caused the second act and finale to linger a bit too long, the use of contemporary pop music and relevant humor was a nicely treated, enjoyable addition to the show.
As for the actors and their performances, Kegan Witzki was (literally and figuratively) brilliant as marbled statue king Calmon, the sarcastically sweet narrator of the captivating, beautifully crazy absurd anecdote. WITzki flexed his cleverness and Second City-worthy sensational improv skills as much as he did his pecs throughout the performance with his perfect punch lines, adept asides and uproarious farcical antics with teasing audience members and pulling them into the story. Witzki, as did his bare chest boasting more glitter than a Ke$ha concert, absolutely sparkled. Barbara Charlene, as a raucously funny and wonderfully lily-livered Pantalone, was also a true scene-stealer and offered one of the most outstanding and wonderfully crafted performances of the entire show. Truly upstaged are both Tommy Foy and Morgan Manasa as the Kingdom of Heart’s King Tartaglia and Queen Ninetta, whose close but no cigar performances are fleetingly funny. A seductive, scintillating performance by Flavia Pallozzi as the revenge-obsessed sorceress Smeraldina was bewitching, and Kate Lass proved a competent Barbarina, the unknowingly adopted twin princess obsessed with mythical aviary and singing apples, her stage combat proving the most impressive part of her performance. Marc James’ Renzo, the selfish, ridiculously vain prince providing the other half of the royalty-in-disguise twin duo, was at times over-affected and paled in comparison to Lass’ interpretation of his sister. Although their comedic chops are strong and their physical humor and pretend combat skillful and hilarious, Leo LaCamara and Amber Lee Oliver as jaded, aging clown couple Truffalldino and Francheschina left much to be desired. The Zanni, including Ethan Walles, Hilary Bernius and Rebecca Sparks, contributed a funny, traditional colorful chorus of characters true to the Grecoroman custom of the ancient folklore and Commedia, Morgan and Nate Buursma and Lauren Grace Thompson were enchanting as the Green Bird and Princess Pompea respectively.
All things considered, this production soars as a hilarious vantage a fairy tale gone awry and you will go more than cuckoo for cocoa puffs over this delicious and delightful amusing farce slathered in Commedia-rooted slapstick. TCTP’s work is outstanding and proves why exceptional homegrown talent in small, local Chicago theater does not get the respect it deserves. Borrowing the most famous line from the “The Notebook,” If this play is a bird, I’m certainly a bird; and I am sure after seeing it you’ll be feeling a bit feather-brained as well. Kowalski and TCTP’s work constitutes anything but fowl play, and if you are in the market for some light-hearted, completely old school spritely comedy, do yourself a huge favor and jet over to Wicker Park’s Flat Iron Fine Arts Building and catch The Green Bird before it flies the coop.
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