Show: Apartment 3A
Company: Windy City Playhouse
Venue: Windy City Playhouse
Die Roll: 12
My first career was in broadcasting. My first post-college full-time job was as a development associate for a public radio station in Iowa. So, when I see a play about a character who is in charge of the on-air fundraising effort of a Midwestern public television station, I have instant empathy for their plight. Jeff Daniels’ play “Apartment 3A” captures the quiet desperation and the emphatic passion of one woman who is charged with raising the funds to keep Big Bird alive while her own life falls apart around her.
Annie (Eleni Pappageorge) starts the play looking for a new home because she’s been cheated upon and summarily dumped. After giving the titular apartment a rushed, cursory perusal, she agrees to rent what the landlord (Peter Defaria) describes as the best apartment in the building. We don’t get to see much of that apartment. What we do get to see is the random visits of an entertaining neighbor named Donald (Daniel Smith) who takes an interest in improving Annie’s life. Don’t mistake his interest in Annie as romantic. Donald is more than happily married. But that doesn’t mean there isn’t romance in Annie’s life. Her co-worker Elliot (José “Tony” García) has held a torch for Annie for years and now that he has the opportunity, he’s making his (rather awkward) move.
This show basically comes down to being a romantic comedy with a bit of magical realism thrown in for good measure. The script is consistently funny and just quirky enough to keep the audience guessing as to what is coming next. Some of the scenes are cleverly written to allow for Annie to be in a scene with one character while commenting on the same scene to another character. It is an interesting convention, and it makes for some fun banter and word play.
This show succeeds on many levels, but the most successful is director Ron OJ Parson’s casting. Pappageorge starts out cold and difficult to warm up to. That may sound like a criticism, but it really isn’t. That’s the character of Annie in a nutshell. She’s job focused and puts up walls around her personal life. Pappageorge captures that wounded yet ambitious personal perfectly. More impressive is the casting of the men in the piece. One might assume that the parts were originally written for this ensemble. Smith, Garcia, and Defaria are all spot on and create characters that are more real than reality, even when they are in unreal situations. The final cog in this well-oiled machine is Wardell Julius Clark in the role of Tony. Tony is a technician, most likely a board engineer at the studio where Elliott and Annie work. Back in the mid-90s I worked with a lot of guys like Tony. Clark doesn’t have a lot of stage time, but he perfectly captures the vibe that surrounds that person in real life. Parson’s cast is what makes this play sing to me. I ache for Elliot as he pursues the woman of his dreams. I conk my head each time Annie doesn’t see what’s going on directly in front of her. I nod as I absorb Donald’s wisdom. And I smile knowingly as Tony attempts to keep the show going amid chaos.
I am once again impressed with the level of creative excellence that crosses the stage at Windy City Playhouse. I’ve yet to see a show there that doesn’t come up to an elevated level of production quality. Now, with that being said, this script isn’t a masterpiece. It is a fun and enjoyable evening that makes it worth getting out there to see a play despite the myriad possible alternatives right now. While the production isn’t life-altering, it did transport me for a couple of hours filled with laughter and a few tears.
TEN WORD SUMMARY: Love is the reason public broadcasters do what they do.
DICE RATING: d12- “Heckuva Good Show”