Up, up and away with 'Hourglass' in the Chicago Sun-Times

THEATER REVIEW | Dancing superheroes leap tall stages as they tap out tale of girl power

"You will be treated to murder, hostage-taking, vengeance-seeking and knock-down, drag-out fighting along the way. Each of [Chicago Tap Theatre's] dancers is a stylish tapper deft at playing a role. And Yonally's inventive choreography never fails to make tap a great deal more than simple telegraphy." Hedy Weiss, Chicago Sun-Times, July 8, 2008

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Up, up and away with 'Hourglass' THEATER REVIEW | Dancing superheroes leap tall stages as they tap out tale of girl power July 8, 2008 BY HEDY WEISS Dance Critic, Chicago Sun-Times. Superhero stories are invariably action-driven. That clearly makes dance the ideal art form to be employed by anyone hoping to give such tales a third dimension. And this is precisely what choreographer Mark Yonally has done in "The Hourglass and the Poisoned Pen," his full-length "superhero tap dance opera," created in collaboration with Chicago-based cartoonist Andrew Pepoy, combat choreographer Kyle Terry, musical mix-master Andrew Edwards and the 11 wonderfully expressive performers of Yonally's Chicago Tap Theatre. Of course tap dance can exist as an abstract percussive art, with the rhythmic magic of bravura footwork creating its own vivid music. But Yonally has spent years developing an ingenious way to enrich the tap tradition by using it as a narrative language that can define character, illuminate mood, heighten psychological states, drive a plot and serve as a terrifically eloquent counterpoint to the musical soundtrack generated by the sheer "beat of dancing feet." Just consider the cast of characters in "The Hourglass and the Poisoned Pen," a tale best described as a gothic urban power struggle that involves everything from newspaper chicanery and the politics of symphony orchestra world premieres to the triumph of unadulterated girl power. Of course, as with most superhero stories, there is no shortage of graphic violence on tap too, so be advised: You will be treated to murder, hostage-taking, vengeance-seeking and knock-down, drag-out fighting along the way. At the center of the story is Elizabeth Marston (the stoic but formidable Kendra Jorstad), a gentle, emotionally wounded young woman whose beloved father is killed before her eyes. Elizabeth, in fact, seems doomed to victimization, complete with ratty boyfriend Nick Prickley (Yonally, a true power tapper), a music critic with a nasty streak who treats Elizabeth (and new musical works) like dirt. But leave it to Elizabeth's ever-enthusiastic pal Daphne (the irrepressible Jennifer Pfaff, a performer of great zest) to turn things around. Daphne, who owns a comic book shop, identifies her friend's hidden superpowers and urges her to use them as needed. Adding to the twisted plot is a rather nefarious symphony conductor (Jenna Deidel), her violinists (Laura Chiuve, Melissa Reh and that most watchable street urchin, Stacy Milam), Nick's ambitious associate Edie (a crisply tapping and scheming Christina Merrill) and a trio of dancers (the wiry Phil Brooks, plus Maureen Allen and Tiffany Mehling) who play a slew of supporting characters with panache. Each of these dancers is a stylish tapper deft at playing a role. And Yonally's inventive choreography never fails to make tap a great deal more than simple telegraphy. "Hourglass," with Pepoy's illustrations and Chelsea Meyers' set fused in a giant page-turning comic book backdrop enhanced by fast-moving text projections, is still being tweaked and tightened. But it should be in great shape by the time it heads to the New York Musical Theatre Festival this fall. http://www.suntimes.com/entertainment/weiss/1043857,CST-FTR-Weiss08.article"