'The Mistress Cycle' Is A Triumph Of Womanhood

Behold the power of womanhood! The Mistress Cycle, currently on stage (literally) at the Auditorium Theatre is a transfer of the hit Apple Tree production and is one of the finest productions to be produced in years.

Under the masterful direction of Kurt Johns, the Auditorium Stage is transformed into a beautiful red mosaic of colors which the audience is privileged to surround as five mistresses at different points in history, melodically and emotionally tell their story via one of the most vibrant and luscious scores to be penned in a two decades. The story's jumping off point begins with Tess Walker (Charissa Armon), a contemporary Manhattan photographer who finds herself at the height of her career and makes a leap of love (and lust) with a married man. As her tale unfolds, historical mistresses, one by one, tell their similar tale of being the third. Anais Nin( Angela Ingersoll), who penned her exploits in a multi volume diary in the early 20th Century, Diane de Poitiers (Susie McMonagle) who was the famed mistress of King Henri II; Ching (Christine Bunuan), a 14 year old Chinese ‘concubine' in 12th century China; and Lulu White (Karen Marie Richardson), a New Orleans' Madame at the turn of the century.

What is most intriguing about this 90 tour de force is the interaction of the cast members, who as ensemble create the best of female musical theatre actresses working today. The vocal support, the five piece intricate harmonies and the total emersion of each actress to complete the other's story is visionary genius. To single out one actress above another is impossible as each performance is Jeff worthy in its own right. However, the most palpable is the phenomenal Susie McMonagle's Diane. The reasons are two-fold; First, Ms. McMonagle, who rivals the best of the Broadway divas, gives an understated and melancholy interpretation of her character. Anyone who has seen Susie perform knows the alto belt she can unleash to bring down a house. For ‘The Mistress Cycle' though she clearly has the opportunity to let her signature D flat shake the rafters, McMonagle opts to give a heart wrenching, soft and soothing tone to her songs, which in turn is proves no wonder a King would fall in love with her. The second reason is that the character of Diane de Poiters is the only one who the audience get to see interact with the wife, in this case the Queen) who she revives from fever. Her song, ‘Half A Bowl' is without a doubt the best number in the show.

Charissa Armon's Tess perfectly creates the anchor for the rest of the ladies to envelop their stories. Christing Bunuan (25th Annual Putnum County Spelling Bee) is remarkable in her solo, ‘One In A Line' and Ms. Richardson gives Dolly Parton a run for her money has the best little ‘Madame' in New Orleans. In fact, Richardson is the most essential to the piece as she allows us some comic moments which is most endearing to her Lulu.

Most fascinating to watch throughout the show is Ms. Ingersoll, who as Anais, never once breaks character throughout the production. With her impeccable French/English accent and her intricate poses which she hold for minutes without moving is a testament to the Strasberg method of truth.

Musical director's Diana Lawrence work is flawless and as the accompanist for the production, makes the grand piano sound like a lush orchestra. Unfortunately, to have Ms. Lawrence perform the opening number without first having any of the characters introduced impacted the story arch and was almost a throwaway moment in an otherwise perfect show.

If the audience is to take anything away from The Mistress Cycle, it is a certain empowerment of women. Each of the characters portrayed in this musical are successful and powerful in their own lives before making the decision to get involved with a married man. The choices they make are ones of the heart and not of financial necessity. In fact, one could easily argue that is the male is the most vulnerable in such a triad.

The Mistress Cycle plays through August 8, 2009 at the Auditorium Theatre, 50 E. Congress Parkway, Chicago. For tickets and show times (which vary) please visit www.auditoriumtheatre.org or call (800) 982-2787.