Review: Theatre UCF's Talented Cast Makes Difficult NINE Compelling Theatre

A musical with Italian opera-inspired songs about a philandering middle-aged film director with writer's block, and the dozens of women that influence his life and work, does not seem like an obvious choice for a college theatre program to undertake. However, under the direction of Earl D. Weaver (who also choreographed), Theatre UCF sinks its collective teeth into the neurotic, misogynistic, and childish mind of Guido Contini in NINE, running through March 29th. This seven-time Tony-winning musical is based on the semi-autobiographical film "8½" by Italian director Federico Fellini. The cast of 21 women, one man, and four boys creates an evocative world that seems to hover in the realm between fantasy and reality; much like many of Fellini's films. With striking talent, breath-taking design, and artistic vision, Theatre UCF succeeds where many professional companies would (and have) faltered; despite its unsettling premise, NINE is a joyful reminder of the power of young talent in the arts.

With a book by Arthur Kopit and music and lyrics by Maury Yeston, NINE has enjoyed two successful Broadway runs (led by Raul Julia in 1982 and Antonio Banderas in 2003), numerous worldwide productions, and a disastrous film adaptation in 2009, which starred Daniel Day-Lewis.

The show opens with a chorus of women, led by Guido's wife Luisa (played by the wonderful Ashley Turner), singing a number of dissonant strains of melody. Only when Guido (Stephen Rochet) stands and begins to conduct the cacophony of voices, does the song fully take shape. This effective metaphor gives the audience the instant understanding that Guido sees women, both in life and in movies, as actors that he can direct and manipulate, until he is satisfied.

Though it is nearly impossible to have any sympathy for Guido, especially for modern audiences, Rochet embodies him with heaps of the character's requisite charism; so much so that, at times, you forget that his default selfishness is ruining the lives of nearly everyone close to him, especially the one women that he seems to truly love, his wife.

Both Rochet and Turner are phenomenally well-voiced, even if they were slightly worn on Opening Night. The pair seems to share a short-hand, as if they had actually been married for years. While Guido is the show's libido (rhyme unintended, at least by me), Luisa is clearly its heart. Turner creates a character that is equal parts frustrated, heart-broken, in love, and independent. Her performance is as well-layered as any you will see, especially considering that she is a college student.

Early on, Luisa delivers an ultimatum to her husband; he either must mend his distant ways, or she will leave him. In a seemingly honest effort to repair his failing marriage, Guido takes his wife to a spa in Venice. Unbeknownst to Guido, his mistress Carla has followed him there in order to share some news with him in person. As Carla, Khalifa White adds another captivating performance to Guido's ever-growing love polygon. Though she is far more sexually ferocious than Luisa, her naiveté and reckless abandon distinguishes her from her romantic rival. White brings a bit of levity to the otherwise often-serious proceedings, doing so with a crystal clear soprano that seems at home in both the shows more legit and traditional musical theatre moments.

Feeling pressure from his exacting French producer, Lilianne LeFleur (played by the very entertaining Danielle Engleman), Guido is forced to begin production on his latest film while at the spa, despite not having a cast, script, or even an idea. This development leads to much of NINE's humor, as the farce that is the filming process gives way to the film itself becoming a farce in a myriad of ways.

Despite being afraid of being cast as a retread of her previous Contini characters, Guido's "muse," Claudia, agrees to join the film. From the moment that junior Katherine Darby appears on stage, long before her character's connection to Guido is revealed, it is clear that she is different than the other women in his life. Claudia possess a smile that seems to emanate warmth, which, along with her movie-star self-possession, makes it clear why Guido would turn to her for inspiration. Though her opportunities to show it are few, Darby contributes another stellar voice to the ensemble. Her "Unusual Way" provides the show with one of its most stirring moments.

Though the performances are uniformly strong, one of NINE's strongest attributes is the understated, yet effecting set design of Bert Scott. The stark color palate and blending of two and three dimensional elements to create an almost dreamlike version of ancient and modern Italy mirrors the destruction we see occurring in Guido's life, both on screen and in the real world.

Daniel M. Jones' simple and consistent costumes add to the overall design's impact; as does Weaver's choice to litter the stage with metallic chairs, where the show's women often sit, simply to observe the on-stage action. This imagery gives the sense that these women aren't completely real people, but perhaps are figments of Guido's imagination or memory, preserved in a somewhat perverse museum in his mind. While Theatre UCF's cast brings an ample amount of talent to this otherwise difficult story, the off-stage team of staff and students deserves just as much praise.

As Guido's Mama, Reca Oakley shows her son both the love and scolding that you would expect from a traditional Italian Catholic mother. Abigail Cline plays Stephanie Necropolous, a film critic who seems to be the show's only woman immune to Guido's charms. As she did in ARCADIA earlier this season, Cline brings a specific intelligence and humor to the role, while also displaying a strong voice and surprising flexibility. Lauren Perillo adds humor as Our Lady of the Spa, who is likely another of Guido's former lovers (like apparently, every other woman in Venice). Stephanie Trull, whose prostitute Sarraghina might have kickstarted Guido's unhealthy obsession with woman, steals the show with her show-stopping "Be Italian."

Unfortunately, on opening night, the mics sounded a bit hollow and distorted, which made it difficult to hear and understand certain performers. This fact was compounded by a backing track which occasionally drowned out the vocals. I would imagine that after a performance or two, the technical team will have adjusted the audio mixes and that problem should be remedied.

As I have written, Theatre UCF's cast, crew, and production team have done an admirable job with this challenging, heady musical. However, that does not mean that the show itself is all that compelling. In a day where anti-heroes seem to be the norm in popular culture, and despite Rochet's immense talent and likeability, Guido is simply not a character that elicits any empathy. While you root for a peaceful resolution, you do so for the sake of the women that he has betrayed, not for the troubled antagonist. In fact, I found myself hoping that his self-created difficulties would result in a more psychological break.

While the denouement is extremely stylized as it is written, it did seem that Weaver's direction of the scene made it more ambiguous than it needed to be. Even being familiar with the ending going in, I was left unsure of exactly what had taken place.

Those issues aside, Theatre UCF has again contributed an impressive and engaging piece of work to Central Florida's theatrical community. Due to its size and scale, NINE is a difficult show to produce, so do yourself a favor and take advantage of the opportunity to see this professional-level production, remarkably presented by not-yet-professional performers. To purchase tickets, visit their website or call (407) 823-1500.

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Did you visit Theatre UCF and decide to "Be Italian?" What did you think of their production of NINE? Let me know in the comments below, or by "Liking" and following BWW Orlando on Facebook and Twitter using the buttons below. You can also chat with me about the show on Twitter @BWWMatt.

Photo Credit:
1) Rece Oakley, Ashley Turner, Stephen Rochet, Katherine Darby, and Khalifa White | Tony Firriolo, Theatre UCF
2) Ashley Turner | Tony Firriolo, Theatre UCF
3) The NINE Set | Tony Firriolo, Theatre UCF
4) Stephanie Trull with Jackson Chase, Adam Johnson, Jordan Dickens, and Jason Zavitz | Tony Firriolo, Theatre UCF

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