Steadstyle Chicago
	May 2009 Theatre Review by Alan Bresloff
	Graceland Profiles Theatre, one of Chicago's oldest storefront theaters, year after year amazes audiences with the original works they produce in one of the most limited spaces for a director to work with.  Their current production, "Graceland" by Ellen Fairey is no exception. Don't let the tile fool you, this is not a tribute to "The King," but rather a marvelous psychological look at four characters, the loneliness they are facing and how they are all brought together. The title stands for Graceland Cemetery, a small graveyard in the Wrigleyville area at Clark Street, just South of Irving Park.  The time is August, on the weekend of the annual Air and Water Show. The characters are Sara (the remarkable Brenda Barrie, who gets stronger with each play she does) and her brother Sam (Eric Burgher, who adds a lot of the comic touches) and they are at the grave of their estranged father who has committed suicide.  They are a very dysfunctional family.  Sara is searching for youth and love, not feeling that her life has any value to anyone.  Sam has given up his future and now works as a delivery man, again because of low self-esteem. They leave the cemetery to visit Dad's favorite tavern and as the evening progresses, Sara ends up going back to Joe's (Darrell W. Cox as always creates a very real character) apartment for a one night stand.  In the morning she meets Joe's son Miles.  Jackson Challinor plays this role to perfection.  While he may be the youngest character, he may be the only one who really knows what he wants and how to get it.  This young man is dynamic and energetic in his role, but has the tendency, as do most young people today, to not speak clearly so some of his words are somewhat slurred.  Slow down a bit, Jackson.  You have a lot to say, and we as an audience want to hear every word. Miles finds himself very attracted to Sara and when he finds that she has left behind her father's watch, he grabs it and uses it as a ploy to bring her back to his dad's place and seduce her (a sort of Mrs. Robinson from "The Graduate").  Sam also has a problem with knowing that his father, prior to his suicide, was having a thing with his ex, Anna.  The latter is skillfully handled by Somer Benson who proves there is no such thing as a small part as she takes her one scene and builds her character sharply. There are some tender moments in this production and director Matthew Miller makes it all work.  The set by William Anderson is multi-functional as it represents both the grave site and Joe's living room/kitchen.  While it is confusing in the first scene, it bends perfectly and we forget that the coffee table is the grave site and that there is a kitchen at the cemetery.  This is a tribute to the direction, the actors, the set, the lighting by Jess Harpenau and the sound and music by Mikhail Fiskel. All of us make decisions in life that where the results are not what we had hoped for.  All of us have situations in our families that are not perfect and all of us encounter new people as we meet new situations.  Often, these new people have no impact on our futures, but in this case they do and this 75 minute production will keep your interest from start to finish.  The play ends with a very tender moment that we as an audience will rememebr and possibly it will have an impact on our lives as well. Profiles Theatre extends its production of "Graceland" through December 20, 2009 at National Pastime Theater, located at 4139 N. Broadway.  Performances are Thursday and Friday at 7:30 p.m., Saturday at 3:00 & 7:30 p.m. and Sundays at 3:00 p.m.  Tickets range from $$30-$35, a true bargain for a production of this quality.  Due to the size of the theater, I suggest you call 773-549-1815 and reserve yours now. Online: www.profilestheatre.org.  Parking is available at 4100 N. Clarendon for $10-$12 depending on performance.  The Broadway bus stops at the door.   About Alan Bresloff Alan Bresloff, once an actor himself, has been covering the Chicago Theater Scene since 1993, first as the Theater and Arts critic for LaRaza newspaper, then with Salsachicago.com and then onto Extra Newspaper and The Epoch Times.  He also writes for ElImparcial and TeleGuia.  His reviews can also be seen on www.theatreinchicago.com.  Alan does not call himself a "critic" but a "reviewer" as he tries to educate the reader about theater itself, what is a good value, what to look for in a play or musical and more.  "Exposure to theater is a very important part of a young person's life" he says. "Learning about the arts and culture is in fact learning about life" and he tries to explain more in his reviews than just if it is good or bad.  Even some of the poor productions have some value, he often says and he would love your feedback on shows that you have seen.  You can write him here or at albresloff@sbcglobal.net.