… all the stage’s a world …
The back stage magic of And Away We Go makes me think of the wonderful song about a dogged and devoted itinerant theater group in Cole Porter’s Kiss Me Kate, “We Open In Venice” (“then on to Cremona …. and on to …. and on …"). And Away We Go, too, is on the move — with the feel of a story about an equally valiant itinerant theater troupe only here the wanderings take them not just through Northern Italy but through time, back and forth. This imaginative, mind stretching extravaganza is beautifully pulled off by the Pearl Theatre group.
The play takes us behind the scenes from the Theater of Dionysos (not Dionysios as printed) in Ancient Athens to today, with stops at works-in-progress at the Globe in London and Versailles’s Royal Theater, and first productions of Chekhov and Beckett. As we weave through time, through plays, and through personal as well as public dramas, the leading character is everywhere and anywhere the theater itself and the chancy, chaotic, demanding and disciplined process that makes plays happen.
An aspect that makes And Away We Go particularly strong is McNally’s inclusive vision of all who make “theater.” Actors, directors, authors, mask makers, tech people, angels, artistic directors, food deliverers and audiences have roles. No in-group snobbery here – fun is made of wannabe-a-part-of-it donors, and of everybody else – great fun, thanks to marvelous comic performers in the Pearl Theatre’s troupe!
There’s a total human inflection — theater as family, theater as loss of loved ones, theater as a tension between “advanced” plays and audiences who haven’t gotten there yet.
I wish that in roving through theater from antiquity, and from Russia to Coral Gables, Florida, McNally had included forays into the great theater traditions world wide. I suppose “you can’t do everything,” but, in the spirit of what works and what doesn’t, the focus on the traditions you’d find in “A History of Western Theater” course came across as narrow. I also found the AIDS episode seemed a somewhat forced inclusion.
In keeping with the joyous boisterous play, the set’s a riotous wonder of costumes, lights, manikins, and props — it's a wonderful work of art in itself — and the costumes are entrancing.
At the start, each actor introduces himself or herself with personal and self-invented words — thus the theme that the great illusions are based on real people with specific lives and contexts is sounded – and never forgotten. Since the play is a continuing flow of segues, it demands perfect timing, remarkable versatility on the part of the actors and comic and dramatic gifts. Jack Cummings III firm hand on this non-linear romp through time and space is a directorial tour-de-force .
Micah Stock as the delivery man who doesn’t “get” Godot provides one among many comic high points. Donna Lynn Champlin’s huge round eyes are hilariously expressive, whether she’s pushing a mop as a stolid Russian cleaning lady or catching up as a donor groupie in-love-with-theater. Dominic Cuskern ranges with power and humor from a perfectionist mask maker in ancient Athens to perfectionist actor at Louise XIV’s Versailles – ever since I saw him as Malvolio in the Pearl’s Twelfth Night, I’ve thought of him as particularly outstanding in roles of men who take themselves too seriously.
Rachel Botcham is vibrant (as well as humorous – just about everything comes with a strong dose of humor) as the woman who wants to act on stage – in epochs when the idea of a female actor was an absurdity. Carol Schultz is touching and instantly persuasive as, for instance, the Russian Countess who doesn’t want her association with a theater group known. Sean McNall is energetic and touching in his roles as actor and actor’s lover. These are just snippets – this play’s a feast!
The breadth of imagination of And Away We Go is invigorating. This ambitious, perfectly fulfilled production is a fine evening of that challenging, joyous and essential aspect of existence — theater.
And Away We Go plays at the Pearl Theatre on Manhattan's west side through December 15, 2013. For more information and tickets, click on live link of title. Now EXTENDED through December 21, 2013.
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