Absolutely! {perhaps}
by Luigi
Pirandello
Constellation Theatre Company,
11 October 2014
What is the truth? Is it based on facts or appearance, or
does it rest solely in the mind? This question forms the base for one of
Pirandello’s first full-length plays, where he explores the relationships
between personal and public truths and whether the difference is important. Constellation
Theatre Company opens their newest seasons with this comedy, originally written
in 1917 in Italian, and later translated and adapted by Martin Sherman in
London in 2003. Director Allison Arkell Stockman has chosen this new adaptation
and set it within 1960’s Italy.
Based within the
home of the Agazzi family in a small town, a group of friends have all come
together to discuss the newest addition to the town, Signor Ponza, his wife,
and his mother-in-law, Signora Frola. It seems that while the Ponzas live in
another part of town, Signora Frola has been moved into the flat next door to
the Agazzi’s, and is never able to see her daughter in person. Within the first
act, both Ponza and Frola visit the Agazzi’s home, each telling stories of the
other’s madness in relation to Ponza’s wife, who may or may not be Frola’s
daughter. But who is telling the truth, and who is simply mad?
As this was a
preview, I understand that the actors are still settling into the language and characters,
possibly explain why the last night’s performances felt somewhat forced and
unnatural. The Source Theatre is not a large space, and I am not a fan of
over-articulation within small spaces. I think it is unnatural and
uncomfortable though I know many theatre-makers in the United States still
think it necessary, and I have a feeling that I may have been the only one in
the audience that was really bothered by this. Eventually they did settle into
their characters, and as I began to accept this world that they were trying to
create, I could forgive the affected and unnatural voices I was hearing.
This play in style
is a bit tricky, the writing is a tad uncomfortable as the author paints many
of his characters with black and white views, while one character is allowed to
be a voice of reason among the din of gossip. Lamberto Laudisi, played by
Ashley Ivey, is the flamboyant and playful brother of Signora Agazzi. Ivey is
very enjoyable to watch, playing with the characters and occasionally turning
to the audiences as his co-conspirator, as he watches this farce unfold. Ivey’s
character often comes across as the voice of Pirandello himself, criticizing
characters that are likely based upon real people, and presenting the
reasonable and kind alternative to prying that is to just let others be.
I also
particularly enjoyed the performance of Michael Glenn as Signor Ponza, a man
plagued by gossip, stressed and frazzled by the prying into his personal life
by people who barely knows. Playing his frail mother-in-law, Kimberly Schraf is
equally impressive as these pair leave the characters and the audience equally
uncertain of who is mad and who’s truth is based upon fact. Always a personal
fan of a woman in power, I found Julie Garner as the mayor to be an enjoyable
adaptation in this modern reinvisioning of Pirendello’s play.
Techincally, this
production was absolutely gorgeous, as both lighting and scenic designer, A.J.
Guban created a beautiful 1960’s home that he lit to perfection. Costume
designer, Kendra Rai placed this scene very effectively within the period with
clothing and hair-styles that accentuated height of fashion that Italy is known
for. Along these lines, I’d also like to applaud Palmer Hefferan for his use of
all Italian music, keeping the mood of the play fun and the period clear.
Overall,
Constellation Theatre has delivered a solid and enjoyable piece of theatre,
beautifully designed and performed well. This is a light-hearted, comedic piece
that gives insight on the serious issue of privacy – both comedic and
insightful, audiences leave the theatre with much to think about. Absolutely!{perhaps} is playing until
November 9th at The Source Theatre in Washington, DC.
