Italian-American Reconciliation: Inspired to be more human
Talk about going out with a bang! On the closing night performance of Italian American Reconciliation, the pre-show lament of eager audience wannabes being turned away at the door preceded the sound of erupting laughter and a startling gunshot.
Despite an extended run of John Patrick Shanley’s acclaimed play Italian American Reconciliation put on by Vancouver’s “Evolving Arts Collective” at The Beaumont Stage, the venue’s black box theatre with a capacity of 61 could not meet the public’s demand. In short, be thankful you weren’t the girl at the door turning people away. In managing the front of house, this was the unfortunate position I landed myself in; and it wasn’t a pleasant one! But every other element of the production was more than pleasant - it was unprecedented in its passionate performances and daring directing.
The excitement of the buzzing audience was tangible upon entering the intimate theatre, as was the aroma of fresh Italian-American Minestrone, which was being prepared on stage by cast members. In addition to the atypical presence of actors on-stage pre-curtain, the contesting of conventional practices in the theatre continued even in the program, with the soup’s secret recipe shared by the clever Jennifer Clement in lieu of standard director’s notes. But this wasn’t the only secret shared.
In his opening conversation with the audience, Aldo, best friend to leading man Huey, reveals that direct interaction with us is giving him an unexpected boner – “my own body’s a mystery to me sometimes”. This unabashed confession comes moments after he has swooned, rose in hand, over a married woman in the audience and sternly thrown out another. But he also happens to be very wise and tells us about the insight he will be imparting: “I am here tonight to teach you something”. What follows is a “Folk Tale of Little Italy”about the passionate and primordial pursuit of love.
Huey Maximiliam Bonfigliano, who hasn’t got all his mental problems worked out, intends to beg back his feisty ex-wife Janice, a “vampire vulture monster fiend” as he calls her. Her state of mind is even more questionable; their marriage ended after she shot his dog. His attempt to rekindle the relationship occurs post break-up with his current girlfriend, the wholesome, soup-making waitress Teresa. She doesn’t take it well and ends up going to Canada indefinitely. Considering the ensuing insanity involves guns, deception and seduction, I don’t blame her. In a modern-day balcony scene, Aldo visits Janice first upon Huey’s request, to take the initial heat and warm her up for Huey’s subsequent serenade. When the man with the plan (Huey) does at last arrive to put it into action, the exchange between them is practically perfect in its deliverance.
Ben Ratner’s dejected yet determined Huey is performed witha lovable and honest discernment. He finds an appropriate balance between sensitivity and masculinity. Although the script doesn’t allow as much spoken exegesis about Janice’s complex psyche as might be suitable, Lori Triolo’s eyes say it all. She devours the character, counter balancing Ratner’s understatedness with a more broad performance. Essentially charming us to consider things from her point of view, Triolo’s brazen Janice ultimately comes to reveal more vulnerability and humanity than the original shrew she was made out to be. Through this “reconciliation”, we laugh all along at their potentially fatal yet ever comical issues for who doesn’t have a few “mental problems” to sort out?
Bill MacDonald as Aldo delivers crisp, clear, consistent comedy with Italian bravado and industry veteran Linda Darlow’s intelligent interpretation of the ostentatious Aunt May captures the very essence of an Italian auntie. Krystal Vrba commits fully to her performance as Teresa, playing the stakes high while having fun. The set was appropriate although the detailed realism of an Italian kitchen complete with a smorgasbord was finicky; yet the actors incorporate it seamlessly. Blocking too was just right, keeping within the “fable’s” realism. With punchy dialogue and many a surprise throughout, the script still failed to deliver a concise ending. After a triumphant climax, the denouement was less stimulating and slightly drawn out. Although this inspired some impatient chair wiggling in the audience, by the very end, not only was the soup thoroughly stirred but a ready and rowdy crowd (including a few hecklers) were brought to their feet.
Yet on closing night, falling head over heels seemed to be the universal audience reaction to the piece. And what’s not to love? Meeting their mandate of keeping (not-so-) “small theatre alive [and kicking!] in Vancouver” with admirable audacity, the broken conventions and brilliant story-telling in this show do exactly what EAC set out to accomplish: “to inspire people to be more human”.
Written by: John Patrick Shanley; Directed by: JenniferC lement; Huey Maximiliam Bonfigliano: Ben Ratner; Janice: Lori Triolo; Aldo Scalicki: Bill MacDonald; Aunt May: Linda Darlow; Teresa: Krystal Vrba; Producers: Lori Triolo and Colin Speir; Technical director and designer: Sean Tyson; Stage Manager: Andrea Herald.