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Theater Shows
A Taste of Honey

Working-class Jo must find her own way in 1950s Manchester, England.

centerstage reviewed this performanceReviewed by Centerstage!Go Chicago!

Venue:
Victory Gardens Greenhouse Theater
2257 N. Lincoln Ave.
Chicago, IL 60614-3717 Map This Place!Map it
Phone:
(773) 549-5788
Tickets:
$27–$35 ($20 previews, $15 industry)

Author
Shelagh Delaney

Company
Shattered Globe Theatre

Styles

Related Info:
Official website

Performances
Runs May 15, 2008-July 5, 2008

Friday8 p.m. (preview 5/16)
Saturday8 p.m. (preview 5/17)
Sunday3 p.m.
Thursday8 p.m. (preview 5/15, industry nite 5/22)

Recommended a "Must See" Show

Jo, a downtrodden teenager from 1950s Manchester, is saddled with a drunken mom and an unexpected pregnancy. But she's not finished yet. "A Taste of Honey," the classic play by Shelagh Delaney, tells the story of Jo's efforts to create life on her own terms. Jeremy Wechsler directs a production that has received multiple raves from local reviewers. The biggest props go to the actors, particularly Helen Sadler as Jo, a heroine more than capable of breaking every heart in the audience.


reviewed performanceCenterstage Show Review
Reviewer: Dennis Mahoney
Monday May 19, 2008

Opening with a startling bang, Shattered Globe's production of "A Taste of Honey" presents social issues of the 1950s that still are relevant today. When a neglectful, alcoholic mother (Linda Reiter's Helen) moves her outspoken daughter (Helen Sadler's Jo) into a questionable Manchester flophouse, it's easy to see the two merely tolerate each other while longing for a life away from their desperate situation. They soon get what they wish for, resulting in even more dire circumstances.

When the play was first produced in 1958, the 18-year old playwright Shelagh Delaney sought to confront overlooked social issues not being addressed among UK's working class. It must have been quite a mid-20th century eye-opener, throwing an interracial relationship, promiscuity, teen pregnancy, homosexual friendships, cohabitation and blatant alcoholism into one mix. The mother-daughter dynamic plays out like the mother-daughter relationship between Edina and Saffron from the 1990s "Absolutely Fabulous" series—only here both Helen and Jo directly address the audience when questioning each another's outlandishness.

Shattered Globe stages the play without a blemish. The British accents by all cast members hold true throughout, even being slightly incomprehensible at times, due to the use of Cockney slang (it helps that Ms. Sadler hails from Canterbury, England). Kevin Hagan's set direction turns a dilapidated rooming house into something quite cozy, lending authenticity through the use of antique set pieces. We gather that the world outside is less than stellar, and Christopher Kriz's sound direction, which includes the noises of the surrounding streets and the upbeat jazzy tunes of the period, establishes an ideal tone.

Ms. Reiter's turn as the gin-soaked, hardscrabble comedic mother helps to keep the show moving at a quick pace, and the emotive Kevin Viol (as Geoffrey, the caring gay art student who befriends the abandoned and pregnant Jo) is another standout.

The ending leaves a gaping, unanswered question: What could possibly happen next? We can only hope something good will come to this dysfunctional, bombastic clan.

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