Raven Theatre does a fine job with the Midwest premiere of Horton Foote’s The Old Friends, a sort of updating of The Little Foxes wherein a wealthy woman (or two) manipulates and bullies everyone around her. JoAnn Montemurro is particularly strong as the bully-in-chief, giving a vanity-free performance of a mean sloppy drunk, and director Michael Menendian brings out the best in others as well, especially marssie Mencotti, whose own drunk scene is a highlight of the production. But Foote ended the play rather than finishing it: there’s that telltale pause before the audience starts applauding, because we’re not sure the thing is over. The Old Friends is more action-filled and absorbing than many other Foote plays, which can verge on Chekhovian non-eventfulness; but the lack of resolution nearly invalidates everything that went before. Through the end of March at Raven’s home theater on the Edgewater/Rogers Park border.
Fans of PG Wodehouse will find plenty to like in First Folio’s Jeeves at Sea: Christian Gray and Jim McCance are back as the idiotic Bertie and the unflappable Jeeves, and the four supporting cast members raise such a hullabaloo that it was surprising how few of them there were at curtain call. Never mind the plot: Wodehouse is all about the style, and director Alison Vesely and her cast have it down pat. This version of the early-20th-Century English upper class is the perfect tonic if you’re feeling hung over after bingeing on Downton Abbey.
Refuge Theatre Project begins its sophomore season by knocking it out of the park with High Fidelity, a musical based on the Nick Hornby novel and the John Cusack film of the same name. Turning a second-story space in the West Loop into “the last real record store on earth,” the company under Christopher Pazdernik’s direction manages to convey the essence of slack while nonetheless singing and dancing their hearts out. Every word of the script (by David Lindsay-Abaire, who shows no sign of slumming here but gives it his considerable best), every lyric, every character has a perfect 90s period feel coupled with sharp comedy and a love story or four. Max DeTogne, who plays our anti-hero, is so good I’m gnashing my teeth at having missed him as Jesus Christ Superstar at Theo Ubique–he holds the whole show together with his hangdog charm. Get thee to 666 West Hubbard before the show closes at the end of February, and maybe if you just refuse to leave you can persuade the company to keep running the show–like, forever.