Thaddeus and Slocum's Excellent Adventure

                              

   Strange things may have been afoot at the Circle K for Bill and Ted in the ’89 Keanu Reeves cult classic “Bill and Ted’s Excellent Adventure,” but not on North Michigan Ave. where amazing things are transpiring at Lookingglass Theatre. Playwright and Lookingglass Ensemble Member Kevin Douglas has more than struck gold, he’s discovered the lost city of El Dorado with “Thaddeus and Slocum: A Vaudeville Adventure,” a delectably cynical, satirical exposé of race relations and entertainment industry injustice in 1908 Chicago. Telling the story of two best friends and surrogate brothers forming an interracial vaudeville act who devise a unique plan to make it big time and play Chicago’s premiere venue The Majestic, this project is such a refreshing piece of dramatic comedy it seems it was doused with the aqua pouring from the Water Tower Water Works building housing the theatre.

                “Thaddeus and Slocum” is particularly exhilarating because of J. Nicole Brooks and Krissy Vanderwalker’s direction. Making intelligent and funny choices, like putting Molly Brennan in juxtaposed roles of spoiled brat Sarah and saloon vixen Abby, Brooks and Vanderwalker bring this important story to life in a smart, special way. The elements of improvisation and engagement with the audience gave the show a certain je ne sais quoi that really made it sparkle like the bright lights of an old downtown marquee, and the directors’ use and treatment of black face was applaudable and brave. Although the black face and some of the ethnic jokes and slurs spewed (like when Slocum retorts “Now you know how I feel” when Thad complains he cannot find his partner in the dark) were disturbing and too much at times for my taste, such boldness on the part of the artistic team and direction is commendable. 

                The cabaret style seating Lookingglass employs is inspired and perfect for the vintage vaudeville revue and street performance theme. Not only did the seating arrangement permit those observing the show to become active participants in Thad and Slo’s old-timey odyssey, it also made it possible for the performers to seamlessly transform into audience members at key junctures in the show. Collette Pollard’s scenic design, inspired by the real interior and structure of Chicago theatres of the era, is innovative and completely transforms the space into a downtown nightclub just after the turn of the century. Samantha Jones’ costume design is time period appropriate and fabulous, demonstrating just the right amount of grit and glamour in capturing the essence of the story and early 1900s toddlin’ Chi-Town (although Isabella’s ensemble for her Butterfly number looked like a D.I.Y. pageant nightmare). Rick Sim’s composition, especially the “Boy Named Roy” number, was funny, well-done and added to the antique club ambience, and the sound by Josh Horvath was delightful (although if loud noises scare you, be forewarned). Katie Spelman’s choreography, although entertaining, was a bit sophomoric and safe --- that is until Thad’s solo at the colored club The Eden, where Travis Turner leaves you mesmerized as he exhibits himself the definition of finesse with a sexy, smooth Fosse-esque routine.

                Speaking of Travis Turner, he reminds me of a young Sammy Davis Jr. and Elijah Kelley (of “Hairspray” and “The Wiz Live” fame) fused together as he interprets protagonist Thaddeus with as much heart as the character’s name suggests. Turner’s talent abounds as he acts, sings, soft-shoes and tumbles with equally impressive aptitude, and his endearing performance as the hero soddened with issues of inequality during a time of tumultuous race relations distinguishes him a definitive scene-stealer. Samuel Taylor is not eclipsed as Slocum, exhibiting great charisma and acrobatic as the lackadaisical and lukewarm other half of the team with big dreams of making it onstage at The Majestic. He also makes you love and loathe him simultaneously as his snide comments and ribbing of Thad provide more than just a hint of underhanded racism (but not enough that he is totally despicable.) Taylor’s characterization of the act everyone is rooting for’s second banana and blue-collar European immigrant son who wants easy street is winsome.

 Monica Raymund is a knockout in her embodiment of Isabella, the clumsy young dreamer denying her heritage in order to achieve success as a performer. From her reacting with bitter wistfulness to Thaddeus’ calling her out on her choice to pass as white, to her comical awkwardness cleverly offset with her poise on The Majestic’s stage, Raymund gives a performance worth seeing. Shariesse Hamilton and Tosin Morohunfola as Isabella’s cousins Zeke and Nellie are also standouts. Both are charming and hilarious as the dynamic husband and wife duo with artistic aspirations, joking and shuffling along right into your heart – and when Hamilton begins letting those bird notes soar, hipping you to truly “bel canto” with her sensational soprano stylings, you will undoubtedly be proclaiming “Whoa, Nellie!” Overall, Thaddeus and Slocum’s adventure is entirely excellent--Bill and Ted would approve. Be sure and catch this top notch, vaudeville class act that is certain to hit the big time.