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Theater Shows
Letters/X

Ever written a break-up letter?

centerstage reviewed this performanceReviewed by Centerstage!Go Chicago!

Venue:
The Hungry Brain
Cost:
Free

Author
Anthony Roberts

Company
GroundUp Theatre

Styles

Related Info:
Official website

Performances
Runs February 2, 2009-March 7, 2009

Saturday8 p.m.
Tuesday8 p.m.
Wednesday8 p.m.

reviewed performanceCenterstage Show Review
Reviewer: John Biederman
Thursday Feb 05, 2009

It's a brilliant idea in its sixth installment—and it could theoretically continue forever. "Letters/X Part 6—The Recession of Love," produced by GroundUp Theatre, collects real love/flirt/sex/break-up letters/e-mails/etc. and actor/composer/editor Anthony Roberts tweaks them into poems, songs, "he said, then she said" mini-dramas and more.

Each cast member is an excellent singer, dancer and actor, comedic and otherwise (there are brief points where one feels the lovelorns' sadness). Matthew Zaradich directs while the cast handles other production roles and includes, in addition to Roberts, Jessica Jane Childs, Trevor McSpadden, Emily O'Neill (co-producer), Liz Quesnelle and Todd Wojcik (co-producer).

Many skits use unaltered communications—bad, rhyming poetry lends itself to song and rambling missives to unintentionally comic monologues. But real genius emerges with translation into bizarre formats—McSpadden turns an "I want you back" missives into an evangelical sermon (complete with supporting cast congregation).

Roberts shows creative use of source material, justifying his "editor" title. One song, "If You Love Me…" takes from many letters, highlighting ridiculous relationship demands such as, "…you'll sell your truck." Other found references serve as launching points for original acts, such as the "Biological Clock" song.

The only quibble is that the show is a wee bit long and/or more interesting letters/etc. could be explored. GroundUp collected hundreds over three months, but the average letter-writer is still a lousy writer and the show becomes routine, if only for five or 10 minutes toward the end.

For the average theater-goer, however, this is nitpicky. Combining voyeuristic thrill with the titillation of the subject matter and the fact that we've all gone a bit nutty in the name of love strikes a formula that audiences will eat up for many editions—especially when pulled off by a group this talented and "edited" by the ridiculously clever Roberts.

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