Theatre--Review (Acting Unlimited)

Vincent P. Barras is a mathematics teacher at Lafayette High School in Lafayette Parish and an actor in many local community theatre groups.

In twenty years of theatre, I have witnessed only two creations formed by friends. The first was the 2005 production of Grand Pré, a musical collaboration between Cody Daigle and Roy Bertucci. To this date, I still kick myself for not becoming involved with that inspiring piece of poignant history. Now, some three-and-a-half years later, I have observed the second creation, Before You, by Danny Povinelli. While I cannot kick myself for not being involved in this one--there was no role in particular suited for me--I do await what future inventions Danny may deliver. If they are as good and as promising as Before You, I hope he continues to produce more works, in which I may hopefully perform. (Shameless bit of self-promotion, fully acknowledged.)

Without my getting into too many specifics, the play focuses on the intricacies and perils of dating as seen through the eyes of an ivory-towered academic who has been questioning the ethics of his work and where it could lead. Though this topic has been mined for centuries, in Before You it felt bracingly new, unaffected, and honest. These are situations we’ve all lived through, the slips and pitfalls of relationships, and every soul in the theatre wondered how would these five lives resolve their issues. It was a delicate dance, finely choreographed and beautifully acted.

This revelation of a play had a particularly strong cast led by the author himself, who had to assume the lead role at the last minute. The incredibly cerebral Danny seemed apropos for the lead role of an academic who longs for something more. Aiding Danny was a particularly enthusiastic Jack Robertson, a younger college friend with a strong addiction to puns. At first, I thought that poor Bruce Coen had not been given much of a character to play, but with each new scene, I kept thinking that Bruce, in some ways, got the better deal. Kayla Lemaire, the last actress to appear in the play, took an unusual supporting role and made her character at times overtly sensuous and at others achingly appealing. But my true admiration goes to Christy Leichty, whose comedic timing is flawless, especially when she could deliver a line with heart-stopping precision, and then crack a smile to add “Just kidding.” It’s a gift I have not seen displayed in some time, and I appreciated the humor and heart she displayed in this production.

Collaborating with long-time friend Walter Brown, Danny has produced a marvel of a set, an intimate living room of incredible detail, from the books on the bookcases to the chess set that every soul threatened to break as they sat on the coffee table. It contains several surprises, which will not be revealed here as they should be enjoyed by the audience. I did, however, feel acute sympathy for the stage right wall, which suffered the horrendous aim of all five characters hurling darts in its direction. Many missed the dartboard entirely, but I suppose that might form an analogy to the imperfect science called dating. At times, the lighting added an eerie, almost surreal quality to many dream sequences, and the cast wisely utilized the audience area for a pleasant stroll toward a nearby swing.

My only quibbles are minor. Scene changes have the potential to undermine the momentum of any play, and the inherent difficulties of the Cité stage offer many plays no favors. While the crew worked admirably to create two new scenes in that limited space, it sapped the energy of the well-focused material, and one scene change appeared interminably long, allowing for a particularly difficult costume change. I can only imagine what the Vivian Beaumont theatre in New York would do with entire scenes coming up from the floor or down from the ceiling. The first act, also, seemed a bit long, especially the first scene, where perhaps some judicious trimming is in order. The second act, however, moved briskly from scene to scene with a clarity I respected. While I could appreciate the intricate lighting design, I felt on one occasion the red lighting was overkill in an otherwise perfect second act. Sometimes the props worked against the characters: the guitar in one scene appeared determined to upstage every actor as they attempted to move it out their way to continue the scene. And for someone who has played ultimate Frisbee, Danny has the most peculiar way of sending that object through the air.

I repeat: these are minor foibles of a largely masterful work. I thoroughly enjoyed this production and I highly recommend all walks of life to see it. It will run until January 24th, performances on Thursday, Friday, and Saturday nights. Call 291-1122 for ticket information.
---Vincent P. Barras