Vagabonds' "Light Up the Sky": See the Light!

SHOW INFORMATION: Light Up the Sky runs at Vagabond Players in Fells Point through February 10.  Fri – Sat at 8PM, Sunday at 2PM.  Tickets are $15.00.  Go to www.vagabondplayers.com or call 410-563-9135. 

◊◊◊◊ 1/2 out of five.  1 hour, 50 minutes, plus 2 brief intermissions.  Mild adult language. 

 

In a weekend that offered the openings of three classic plays: Twelve Angry Jurors at Laurel Mill, The Mousetrap at Spotlighters and now, Moss Hart's Light Up the Sky at Vagabonds, a theatre fan can get a real grip on works that both define their respective genres and reveal their timelessness.  Light Up the Sky, directed sharply by John W. Ford, is an absolutely hilarious study in timing and an acting style virtually missing in today's theatre.  The play is the very definition of a backstage comedy, full of all the types, and all of the over the top melodrama associated with such a play.  That most of these types of people (at least in terms of theatre) are probably unfamiliar to modern audiences, and yet are still vividly poignant is a tribute to the work, the direction and the casting of this wonderful evening of theatre. 

First of all, the look of the production is a throw back to a bygone era, when detailed you-could-live-in-it sets were the rage, and every inch of the stage is covered with lovely scenery that transports us to another time instantly.  In this case, the set, designed by Mr. Ford, is a stunning reproduction of a 50's-elegant hotel suite at Boston's Ritz-Carlton.  In shades of green and cream, and loaded with fabrics of all sorts of patterns, the look is lavish and comfortable.  In short, it sets up the audience to relax and enjoy.  The luxury also continues with Shannon Maddox's sharp, theatrical costumes, dead on in their time period and perfectly character appropriate.

That tried and true device of introducing all of the peripheral characters, while building up to the big star entrance works marvelously here, not because Eve Arden or Bette Davis is going to come waltzing out the door midway through Act One, but because it builds so that anyone coming out that door has the opportunity to make a mind-blowing first impression.   

We first meet the leading lady's ghost writer at work on memoirs to be published, played somewhat stiffly by Brittany Culpepper.  Not that she's bad, she does what she can with the one role that goes nowhere, but she concentrates perhaps a bit much on having good posture.  However, what redeems her performance is her ability to play straight man to a cornucopia of giant personalities, no easy task given the rest of the company. 

Patrick Marytn, as the effete, yet "married" director is all artsy-fartsy come-on and witty melodrama.  His signature line, "I could cry" is a scream each and every time he delivers it, and the man is a master at the slow burn pregnant pause.  Owen Turner, a playwright visiting the camp to check out his competition is dryly played by Mike Styer, and is, along with Miss Culpepper, a tower of sensibility in a sea of chaos.  Mr. Styer brings an authority and slyly bitchy undercurrent to his part, as he looks forward to seeing someone else's head on the chopping block. 

Then there is the dynamic duo of Stella and Frances, the leading lady's mother and producer's wife, played fabulously by Carol Conley Evans and Holly Pasciullo (I'd love to see these two as Mame and Vera Charles).  Both characters are particularly non-glamorous in an exceptionally glamorous world.  The fish out of water take works for both actresses whose energy is like lightening in a bottle – uncork it and watch out! Ms. Evans' deliciously biting delivery is full of terrific zingers, and her physical comedy skills and double takes are priceless.  Ms. Pasciullo's street savvy, but uneducated take on the role endears her to us immediately and her reading reminds me of the best bits of Megan Mullally in Will and Grace – that snippy bitch-sophisticate soaked in liquor and surrounded by a warm heart.  Nice work, ladies! 

Making his local debut, Andrew Macomber II, as playwright of the day Peter Sloan makes an impressive Baltimore opening, with his down-to-earth portrayal and a surprise character twist in act three.  His dashing looks, tempered by an everyman posture makes us root for him right away.  Tyler Rayburn, the leading lady's husband shows up at the last minute to support his wife and endure another round of abuse by his high maintenance spouse.  Played with just the right dash of haplessness by Stephen Antonsen, it is nice to see this local favorite do a lot with a little, proving he needn't be the focus of the piece to make a terrific contribution.  Watch for a particularly fun bit of his in act two.  Then there is Roger Schulman, who, in one brief scene, makes an excellent impression.  Here he plays a Midwestern Shriner with deep pockets and a hidden passion for the theatre.  He plays the innocent rube with a decency that makes him likable instantly.  (I won't tell you why such a character exists, but it is a hoot.)  Lastly, in several bit roles, Ben Brunnschweiler does a fine job each time he all so briefly takes the stage. 

But it is the two leading roles which really knocks this treasure right into orbit – theatre producer Sidney Black and his star, Irene Livingston, played wondrously by Dennis Wood and Beth Weber.  Mr. Wood's "guys and dolls" accent and invariably slick delivery make this fox in the henhouse a treat to watch.  Everything Black touches, it seems, turns to gold, and with Mr. Wood in the part it is easy to see why – he is a virtual charisma machine, oozing charm like oil, with matinee idol looks and a devilish smile, it is easy to see why this guy always lands on his feet.  As I mentioned earlier, act one is designed to create a huge star entrance, and the enchanting and dynamic entrance by Beth Weber is no disappointment.  She is a STAR, joining the pantheon of such characters as Norma Desmond and Margo Channing, and Ms. Weber attacks the role with a fever pitch and voracious appetite.  Just short of chewing the scenery, Ms. Weber holds us captive with a masterful mixture of dramatic flair, hilarious over-the-top bits and a genuine love for the character. 

Aside from the superb casting, Mr. Ford's direction truly makes this piece work.  Every second of the production is precisely tuned to the right pitch and timing – this thing is so tightly constructed a bulldozer couldn't stop it.  And he has guided his actors well in a style of acting that really no longer exists – a heightened reality, with just a tinge of modern sensibility, and a nice dose of humanity.  He also knows when enough is enough, often bringing us to the edge of overdone, but always pulling back just when needed.  I tell you, the year is young, but direction of this caliber will be hard to beat. 

Just a final note: the performance (a Sunday matinee) I attended was nearly sold out.  If you go, and you really should, I'd strongly suggest making a reservation in advance.

 

PHOTO by Tom Lauer, courtesy of Vagabond Players.  Left to right: Dennis Wood, Michael Styer and Patrick Martyn.

 

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