Italian American Reconciliation
Sat, 8 Feb 2003, 03:25 pmWalter Plinge1 post in thread
Italian American Reconciliation
Sat, 8 Feb 2003, 03:25 pmWHAT: Italian American Reconciliation
WHEN: Friday, February 7 (2003)
WHERE: The Act-O-Matic 3000 Inc, Blue Room Theatre, Northbridge (WA)
This production caught me a little off-guard. I'm not sure why, but I had a preconceived notion that Italian American Reconciliation was some sort of outrageous slapstick comedy. It isn't. It's a bittersweet tale of relationships - alternately hilarious and poignant - guaranteed to strike a chord with anyone who's lived and loved.
Huey (Dan Walls) is in a relationship with Teresa (Amanda Crewes) but finds himself yearning for his ex-wife, Janice (Catherine Kohlen). Huey solicits help from his best friend, Aldo (David Gardette), whilst Teresa confides in Aunt May (Lucy Eyre). I really don't need to say much more. If a cast like that doesn't convince you to go see the show, then anything more I say will be pointless.
Regardless, David Gardette opens the show with a style-setting monologue (helped immeasurably by the lovely Sue Brownbill in a critically important cameo role) and a predilection for drawing attention to his erections. We move to Huey's apartment to find Dan Walls in a puffy shirt (as specified in the script, not as Dan's personal choice, I'm sure). I'm sorry, but combined with the New York accents, all I could think of for the first five minutes was Jerry Seinfeld whining, "But I don't wanna be a pirate..." but it sets the scene. Despite being treated deplorably by his ex-wife, Huey feels that, in order to grow as a person, he has to approach her, and he seeks Aldo's help.
Scene 2 moves to the local Soup House (there's that Seinfeld connection again). I know it's trivial, and we shouldn't be paying attention, but I really liked the scene change. The set was utterly transformed with a few simple props and a splash of colour, performed gracefully but not hurriedly, accompanied by a wonderful soundtrack. Teresa is the waitress at the Soup House and she pours her heart out to Aunt May concerning her thoughts on her relationship with Huey. If I was impressed with Dan and David's Brooklyn accents, I was blown away with Amanda's. Although tiny compared to David Gardette, Amanda stood up to him with body language and delivery that belied her diminutive stature. It was a great moment watching her rip shreds off him. Lucy's lush British accent was completely replaced by the Brooklyn twang, and she demonstrated some hilarious eye-movements while simply eating her soup and watching the combatants.
An interval allowed us to replenish copious amounts of lost liquids. WEAR LIGHT CLOTHING! The Blue Room can get a bit warm....
Scene 3 was even more intense, as we were finally introduced to the beautiful but deadly Janice. First Aldo, followed by Huey, entered Janice's garden (not a euphemism) in the middle of the night and called her out onto her balcony - Romeo & Juliet-style. For me, this was the highlight of the production. The dialogue and pace moved so very well, that I completely lost track of time. Janice barely moved but we never lost interest and her intensity never faltered. It might have been 20-30 minutes with Janice stood still on the balcony, talking with Aldo (then Huey), but it was so totally absorbing and heart wrenchingly powerful, that I lost all track of time. It was either that, or the fact that Janice was dressed in a thick, warm, ruby-coloured dressing gown (matching her impeccable scarlet lipstick and nail polish), barely concealing a black satin and lace negligee (complementing her raven tresses) that was rapidly becoming plastered to her lithe body in the heat of both the night and the passion.
Scene 4 is almost an epilogue to the prior confrontation. Much like real life, it answers some questions and asks others. A satisfying and touching resolution.
A couple of the lines were a bit corny, particularly in the first half, but overall the script pays dividends. There's not a lot of movement, but it's not required. (And let's face it, if a lot of movement was required, it wouldn't be staged at the Blue Room.) The dialogue and the characters carry the show. It's a relationship-driven play and the script holds your attention as it strikes home. A powerful, poignant piece, with enough laughs to make it human, by two of Perth's best actors (and three who nicked off to Melbourne a couple of years ago). Apparently there's a positive review in today's West (haven't read it yet). Tickets are cheaper than a lot of other Blue Room shows, it's on for one more week, and the venue only seats around 35-40, so don't leave your booking too late!
Thank you to director Dan Walls, his cast and crew for bringing the production to Perth for us (after a successful season in Melbourne). The least we can do is support them by going to see the show!
JB
WHEN: Friday, February 7 (2003)
WHERE: The Act-O-Matic 3000 Inc, Blue Room Theatre, Northbridge (WA)
This production caught me a little off-guard. I'm not sure why, but I had a preconceived notion that Italian American Reconciliation was some sort of outrageous slapstick comedy. It isn't. It's a bittersweet tale of relationships - alternately hilarious and poignant - guaranteed to strike a chord with anyone who's lived and loved.
Huey (Dan Walls) is in a relationship with Teresa (Amanda Crewes) but finds himself yearning for his ex-wife, Janice (Catherine Kohlen). Huey solicits help from his best friend, Aldo (David Gardette), whilst Teresa confides in Aunt May (Lucy Eyre). I really don't need to say much more. If a cast like that doesn't convince you to go see the show, then anything more I say will be pointless.
Regardless, David Gardette opens the show with a style-setting monologue (helped immeasurably by the lovely Sue Brownbill in a critically important cameo role) and a predilection for drawing attention to his erections. We move to Huey's apartment to find Dan Walls in a puffy shirt (as specified in the script, not as Dan's personal choice, I'm sure). I'm sorry, but combined with the New York accents, all I could think of for the first five minutes was Jerry Seinfeld whining, "But I don't wanna be a pirate..." but it sets the scene. Despite being treated deplorably by his ex-wife, Huey feels that, in order to grow as a person, he has to approach her, and he seeks Aldo's help.
Scene 2 moves to the local Soup House (there's that Seinfeld connection again). I know it's trivial, and we shouldn't be paying attention, but I really liked the scene change. The set was utterly transformed with a few simple props and a splash of colour, performed gracefully but not hurriedly, accompanied by a wonderful soundtrack. Teresa is the waitress at the Soup House and she pours her heart out to Aunt May concerning her thoughts on her relationship with Huey. If I was impressed with Dan and David's Brooklyn accents, I was blown away with Amanda's. Although tiny compared to David Gardette, Amanda stood up to him with body language and delivery that belied her diminutive stature. It was a great moment watching her rip shreds off him. Lucy's lush British accent was completely replaced by the Brooklyn twang, and she demonstrated some hilarious eye-movements while simply eating her soup and watching the combatants.
An interval allowed us to replenish copious amounts of lost liquids. WEAR LIGHT CLOTHING! The Blue Room can get a bit warm....
Scene 3 was even more intense, as we were finally introduced to the beautiful but deadly Janice. First Aldo, followed by Huey, entered Janice's garden (not a euphemism) in the middle of the night and called her out onto her balcony - Romeo & Juliet-style. For me, this was the highlight of the production. The dialogue and pace moved so very well, that I completely lost track of time. Janice barely moved but we never lost interest and her intensity never faltered. It might have been 20-30 minutes with Janice stood still on the balcony, talking with Aldo (then Huey), but it was so totally absorbing and heart wrenchingly powerful, that I lost all track of time. It was either that, or the fact that Janice was dressed in a thick, warm, ruby-coloured dressing gown (matching her impeccable scarlet lipstick and nail polish), barely concealing a black satin and lace negligee (complementing her raven tresses) that was rapidly becoming plastered to her lithe body in the heat of both the night and the passion.
Scene 4 is almost an epilogue to the prior confrontation. Much like real life, it answers some questions and asks others. A satisfying and touching resolution.
A couple of the lines were a bit corny, particularly in the first half, but overall the script pays dividends. There's not a lot of movement, but it's not required. (And let's face it, if a lot of movement was required, it wouldn't be staged at the Blue Room.) The dialogue and the characters carry the show. It's a relationship-driven play and the script holds your attention as it strikes home. A powerful, poignant piece, with enough laughs to make it human, by two of Perth's best actors (and three who nicked off to Melbourne a couple of years ago). Apparently there's a positive review in today's West (haven't read it yet). Tickets are cheaper than a lot of other Blue Room shows, it's on for one more week, and the venue only seats around 35-40, so don't leave your booking too late!
Thank you to director Dan Walls, his cast and crew for bringing the production to Perth for us (after a successful season in Melbourne). The least we can do is support them by going to see the show!
JB