Feverdream Cocktail | Performing Arts Review | Chicago Reader

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Feverdream Cocktail

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FEVERDREAM COCKTAIL, Trap Door Theatre. I suppose the folks at Trap Door Theatre just got tired of full houses. Why else would a company with a reputation for edgy, popular dark comedies like Blood on the Cat's Neck and The Boys of the Peggy August Club decide to produce an evening of three empty avant-garde pieces, except to drive people away and bore the pants off the few who stay?

Surely no one at Trap Door believed Brian Howrey would create anything but a 90-minute evening of theater hell. All you need to know you can find out from his biography, which plainly states that he's "developed a style of theatre owing its structure to musical forms, and in which music and non-verbal languages often supersede their verbal counterparts." Translation: Howrey, who got an MFA from the California Institute of the Arts, has been in school too long and has no idea how to do anything anymore but bullshit.

Divided into three movements, each with its own obscure title ("An Information Theory," "Scherzo," and "Burns Itself Out"), Feverdream Cocktail features lots of strange costumes, odd music cues, and eccentric stage behavior signifying nothing. All that's missing is a pompous director's note in the program explaining in perfectly opaque pomo academese exactly how this self-indulgent "exploration of juxtaposed movement exteriorizes the interior, interiorizes the exterior, valorizes the other, Scotchgards the couch, lifts, separates, blah blah blah, zip-a-dee-doo-dah day." --Jack Helbig

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