PicksInSix Review: Hundred Days

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Embrace the Brief Melody of Life.
Guest Contributor | Scott Gryder

The Chopin Theatre’s thrust-turned-cabaret was washed in red last night, and not just with a backdropped curtain and draped pedestal tables, but also with the vibrant glow of excitement from the audience. Even the cast bounded throughout the open floor layout in a pre-show performance of its own, tuning instruments, acknowledging familiar faces and friends across the theater, and connecting with each other onstage in an almost ritualistic manner. The pandemic lamentably forced the Kokandy production of Sarah Gancher’s “Hundred Days” to close on its original opening night, but, with thoughts of mortality and the fragility of life at the forefront of most minds these days, this Chicago premiere was prepared to appear with renewed enthusiasm and relevance.

Based on the true love story of real-life folk-rock duo The Bengsons, known for adapting their personal stories for the stage, the heart of the piece is more of a musical memoir centering on the premonitions and musings of wife Abigail Bengson and the effects their actions have on others. The concertized theatrical format is markedly two-fold: monologues, with one scene, juxtaposed with song. However, with lyrics laden with repetition, attempting layers of subtext, you won’t find these in your traditional musical theater canon. Instead, these songs are more reminiscent of modern folk-rock groups like The Lumineers or Mumford & Sons. The setup between plot and music of “Hundred Days” is more paralleled to that of cabaret than a musical show, where the performers tell personal stories, while sprinkling in music that shares the intention of the story; however, the songs don’t move the plot along. Music Director Matthew Muñiz encourages this modern folk-rock sound and unconventional musical style, complete with fully-body yodeling and caterwauling, while cleanly layering in the tricky backup vocals of a bluegrass, Americana sound. Choreographer Collin Quinn Rice elegantly echoes the music’s harmonies and arrangements with mirrored and ceremonial movement.

Balancing a theatrical performance based on the lives of non-fictional characters can be a complex task, however, the enthusiastic, whole-hearted comradery of the cast approaches this challenge more like a trust exercise. Almost glazing over the fact that these actors are portraying real-life people, energy is focused on storytelling rather than establishing character; intention versus actuality. Sharing the bulk of the performance, both speaking and singing, Emilie Modaff (Abigail Bengson) is bold, brash, and yet highly sensitive and mercurial. Opposite Emilie, Alec Phan (rotating the role of Shaun Bengson, Wed/Thurs/Fri, with Royen Kent, Sat/Sun) is disarmingly, yet refreshingly, reserved and sedate. In the popular fashion of having cast members play their own instruments, the “Hundred Days” cast reveals solid vocal prowess and musicianship, smoothly rotating between instruments. I continually sympathized with percussionist Lucas “Looch” Johnson, for he was often left stuck behind a drum kit instead of participating in joyful group moments. Standout cast members were velvet-voiced Grace Bobber and energetic Brennan Urbi, both of whom shined in the musical style of the show.

Even though the plot follows the Bengsons spirited and unconventional three week relationship-into-marriage, leaving a fiancé and best friend in its wake, the limited opportunity for connection between characters within book scenes presented a lack of drama and conflict. Instead, the more relatable conceit of the show follows us out the door once the concert has ended: with only 100 days to live, what would you embrace? What would you do with the time you had left? And, for anyone who's ever loved and lost, who would you give your love to?

Focusing the majority of the scripted action downstage center, director Lucky Stiff embraces the concert setup of “Hundred Days” disregarding traditional direct address protocols, and sometimes cutting off parts of the audience to emphasize the confessional-like structure of the dialogue. Scenic design team Jackie Fox and Irena Hadzi Dordevic created an ambiance of intimacy and homeyness, using layers of rugs and hanging lamps. The low-level platform main stage structure, lined by a moat of salt—a somewhat overused metaphor within the piece—framing the lives of the characters in a clean yet almost caged playing space. Along with Fox’s original designs, lighting designer Henry Muller brought strong, rock concert washes of light to the stage. However, the heavy use of shadow along the peripheral sometimes left the ensemble in the dark, stripping away their muse-like efforts of participation. Virginia Varland’s costumes were contemporary and casual, with touches of hipster expression of frilled vests, floral prints, and the like. The challenge of balancing folk-rock vocals in such a close-up space, while also capturing the vocal and instrumental rock energy was not lost on sound designers Mike J. Patrick and engineer Patrick O'Brien, although, the lower vocals were sometimes drowned out by the power of the instrumentation.

“Hundred Days” wraps up with an enthusiastic ensemble number, almost negating the self-turmoil that had been explored throughout the piece; however, I suppose that’s typically how the human mind works—aware our time here is limited, but couldn’t fully function while processing that fact at all times. Instead, it’s mostly aware of the moment we’re in and, in a way, celebrating life. Similar to the 75-minute format of the show, the audience is reminded: life is short, embrace the music!

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com 

PHOTO CREDIT | Evan Hanover

KOKANDY PRODUCTIONS
presents the
Chicago Premiere
HUNDRED DAYS

Music and Lyrics by The Bengsons
Book by The Bengsons and Sarah Gancher
CHOPIN THEATRE
1543 W. Division St.
through January 9, 2022

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