Crossing California in Rogers Park

The Lifeline Theatre’s world premiere performance of
‘Crossing California’ gives life to teenage passions in 1970s Chicago

By Brenna Ehrlich

The scene opens on an improvised cityscape — two apartment buildings flank the stage, and a scrim painted with windows and doors stretches between them.

Teens in 1970s garb run across the stage, and the El rumbles nearby. The CTA’s familiar roar does not emanate from a nearby speaker, but from the Morse stop a few blocks away. Here at the Lifeline Theatre, Rogers Park past and present, fact and fiction, merge in “Crossing California.”

“Crossing California,” an adaptation of Chicago author Adam Langer’s popular novel, opened on May 15 at the Lifeline Theatre. Alan Donahue adapted the book, and John Hildreth directs.

The play tells the tale of a group of city teens and preteens fumbling and groping (literally and figuratively) toward a murky future. It’s primarily a play about passions, and where these desires take the characters. Muley Wills, an African American teenager with a passion for film, also has a passion for Jewish communist Jill Wasserstrom. Jill’s sister, Michelle, an aspiring actress, loves sex, drugs and rock and roll, but can’t seem to get no satisfaction. Larry Rovner, a wannabe Jewish rockstar, wants what any teenage boy wants, and postures and performs to get it. Everyone’s out for something, and these crisscrossing needs and yens weave the web that is Rogers Park.

Langer grew up in Rogers Park and attests to its sense of community.

“I was influenced by the idea of neighborhood, by the exchange of stories between my family and families across the street, next door, a half-block down,” Langer says. “West Rogers Park in the ’70s and ’80s was a genuine community, a genuine neighborhood, and probably the first place where I learned what stories were and the first place where I learned how to listen.”

Because of Langer’s ability to listen and retain stories, his book rings true. Consequently, watching this play is like visiting a neighborhood. We recognize everyone there, mostly thanks to the skill of the actors. Muley, played with quiet conviction by Darren Myers, is the kid we all knew was going to be somebody. Myers acts effortlessly, no facial contortions of declarative statements for this boy.

Katie McLean embodies the teenage angst and aplomb of Michelle Wasserstrom, the girl everyone liked but was secretly afraid of. While McLean seems older than her 17-year-old character, her rich voice and mature appearance lend themselves well to Michelle’s desperate need to be an adult.

We all know Larry Rovner, embodied hilariously by Dylan Lower — he’s the guy who was always drumming his desk during study hall. Lower is just plain funny — from sensuously rubbing his stomach in preparation for making out to rocking out while wrapped in Israel’s flag, Lower nailed the part of the Jewish jock (Get ready for his rock ballad “Soar!” You’ll be singing it all night). These are kids we can recognize.

While the play features several commendable performances, some were lacking, due to either poor acting choices or flaws in the adaptation. The character of Jill Wasserstrom, for example, strayed from Langer’s original story. Langer’s Wasserstrom is a serious little person, steady with her political convictions but shaky in the romance department. Donahue’s Jill, however, gets enough angst out to make Claire Danes proud. Jill, played by Kate Nawrocki, talks much more about her slow dance with Muley than the Iranian hostage situation, cringing and musing in a high-pitched voice.

Now this may stem purely from my dislike of adults playing children, but overalls and a high voice do not a pre-teen make. The same goes from Amanda Gregg, who plays Jewish American princess Lana Rovner. While Gregg is hilarious as stoner Myra Tuchbaum (the play is widely double-cast), her portrayal of spoiled brat Lana relies purely on feet stomping and glaring. The line between parody and comedy in this play is thin, and sometimes actors don’t seem to know which to play.

Regardless of any inconsistencies in genre or acting, “Crossing California” is an innovative and entertaining play. Grant Sabin’s set shows a true attention to detail — from the ’70s lighting fixtures to the vents, it’s perfect. Adam Kozlowski’s sound design also sets the scene, with ’70s hits and almost cinematic scoring. It’s a delight to watch.

Although “Crossing California” speaks to anyone who’s ever been in love or listened to too much Bob Dylan, it’s a Chicago play. I almost wish that “Crossing California” would run solely at Lifeline, playing to the citizens and neighbors of Rogers Park. It’s very much a neighborhood play and comes alive in West Rogers Park.

Even if it does make it off-Loop, the best place to see “Crossing California” will be somewhere where the street and stage meet, and the El is unintentionally part of the sound design.

“Crossing California” runs Fridays at 7:30 p.m.; Saturdays at 4 p.m. and 8 p.m.; and Sundays at 5:30 p.m. through June 24.

The Lifeline Theatre is located at 9612 N. Glenwood Ave.

For tickets or more information, call (773) 761-4477 or log on to www.lifelinetheatre.com

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