Show: “The Elaborate Entrance of Chad Deity”
Company: Red Theater Chicago
Venue: Strawdog Theatre Company (1802 W Berenice Ave)
Every professional wrestler has a signature finishing move. Chad Deity’s is called the power bomb, and it involves lifting his opponent into the air and then slamming them hard onto the mat, back first. In Red Theater’s energetic production of “The Elaborate Entrance of Chad Deity,” what makes this move stand out is not its sheer power, but the wrestler’s showmanship. Before hoisting his fellow wrestler high over his head, Chad gyrates his hips and moves his hands around in a preemptive celebration, almost surigical in its precision. Without that bit, the move would simply be fight choreography. With it, Chad displays why he’s the best loved champion in wrestling. He has charisma. By contrast, the man lying on the mat lacks panache.
More often than not, that man is Mace (Alejandro Tey), a career underdog and true believer in the art form of professional wrestling. Chad (Semaj Miller) is the face of a wrestling company referred to only as “the wrestling,” though one can discern enough details in playwright Krisoffer Diaz’s script to peg the organization as the WWE, or World Wrestling Entertainment. Mace sees himself as a storyteller, since his primary job in each match is to make poorer wrestlers look like winners, a service he provides for Chad Deity often. But he longs for more space to tell his own stories. He wants an opportunity to win. Once he meets the motormouthed VP (a role usually performed by Priyank Thakkar, though I saw a performance with gifted understudy Harsh Gagoomal), he sees a chance to train a partner, someone to pump up the crowd before an entrance, someone who will support him to victory. But EKO (Mickey O’Sullivan), owner and operator of “the wrestling,” has other plans for the pair; they are to become villains, opposed to Chad Deity and all things American, and they will be billed as racist stereotypes.
Diaz’s script is a wonder of craftsmanship. I can understand the impulse to revive the play in Chicago so soon after its original celebrated run at Victory Gardens in 2009. The playwright knows wrestling inside and out, and understands how the drama and showmanship of a great match is not too far from the dynamic work at play in the best theatrical performances. He uses wrestling as a metaphor for art and achieving the American Dream, and then complicates the entire scenario by highlighting how society regularly asks people of color to undermine their own identities in order to get ahead in their chosen fields. The fact that Mace addresses his tale of woe directly to the audience only makes its impact hit harder, as we become his fans, and watch while he struggles to reconcile new-found success with lost integrity.
Director Jeremy Aluma emphasizes the performance aspects of wrestling in hilarious bits. Each actor has a pratfall or excessive use of finger guns to mark their appearance. The referee (Dave Honigman) has as much of a stake in winning audience applause as anyone else, flinging himself onto the stage with a rolling sommersault. Aluma’s attention to detail places us in a world where what’s real and what’s fake blur, and what can be considered a drama or a fight can be debated. Fight choreographer Kyle Encinas adds to this with brutal and punishing bouts that make the small theatre space ring with bodies hitting the mat.
Such a landscape creates real problems for VP and Mace, who pretend to be stereotypes, only to question whether they are becoming stereotypes as they add more and more detail to each performance. The only area where I found Aluma’s work with the actors to be lacking was in the descriptions of Chad and VP’s elaborate entrances. The actors painted the imagery well, but I never got the sense of scope and bombast that Aluma and Encinas brought out in the performers physically at other moments. Of course, Michael Lewis’ wrestling ring set and Brian Lawrie’s projection work to flesh out those entrances, and costume designer Hailey Rakowieki’s wrestling outfits highlight the exaggerated nature of the profession.
Tey connects with the audience on an open-hearted and sincere level, an important accomplishment, given that the world around him relies on showing off first, and emotion second. He walks you through the industry he props up, and prepares you for the most shattering moments in the play. He is a great companion for the journey. Miller is tons of fun as Deity, helping you understand why his bravado works so well on others. Gagoomal is smooth and honest as an operator with a soul. And Will Snyder as numerous Bad Guy characters highlights how ridiculous wrestling characters can become.
In this production, whether or not Chad Deity should be the champ is rarely in question. He dominates any scene he is in, using flare and machismo to charm the audience; the true question is not whether Chad Deity will win using his signature finishing move, but what will happen to the guy hurled to mat after the final bell is sounded.
TEN WORD SUMMARY: An energetic tale of charisma and hard choices about art.
RATING: d12 – “Heckuva Good Show”