Up: The Man in the Flying Chair

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Source: theatreprorata.org

There’s quote from Antoine de Saint-Exupéry’s The Little Prince (a book I have yet to read in full but adore nonetheless) that says, “The most beautiful things in the world cannot be seen or touched, they are felt with the heart.” This is the territory that that Theatre Pro Rata’s recent production of Up: The Man in the Flying Chair investigates. So much of what occurs in the play are things that are felt – they may be shown through actions or words, but most of all they provoke an emotional response.

Based upon the story of Larry Waters, who, in 1982 tied weather balloons to a lawn chair and flew into the sky, Walter Griffin (John Middleton) performed a similar feat. Longing to return to that feel of flying and that surge of inventiveness, he spends his days tinkering in the kitchen while his wife Helen (Shanan Custer) slips “help wanted” ads his way and keeps up a mail route in order to pay the bills. Their only child, Mikey (Keegan Robinson) loathes high school but seems to hate it a little less when on the first day of his sophomore year he meets new student Maria (Lillie Horton), a feisty, pregnant girl who sees the world a little differently than most. Their lives become intertwined as Maria recovers from a life with an alcoholic mother and deals with perceptions of teen pregnancy (while enjoying the state of it very much, claiming its the best she’s ever felt in her life). Mikey begins working for her aunt Chris (Noe Tallen), striving to find one thing he’s good at.

Forced to get a job to pay the bills, Walter goes off to work each day, but an unsettled tone floats in the air. While famous tightrope walker Philippe Petit (Mark Benzel) appears to motivate him, Walter burns dollar bills and makes extravagant purchases. Yearning for greatness collides with basic needs of living. This story moves from calm beauty to turbulence and, much like flying itself, it’s both beautiful and a little scary.

Middleton and Custer are incredible, tugging and pulling and tearing at the audience’s heartstrings, making it both easy and impossible to see how Walter and Helen ended up together. Robinson and Horton are pitch-perfect in their portrayal of teenagers, to the point that I felt uncomfortable remembering what that level of angst felt like. Tallen brings a wonderful quality to the complicated Aunt Chris, who’s both incredibly trustworthy and terrible deceptive. And with a nice dash of magical realism akin to Amelie or Harvey, Benzel adds a lovely bit of levity along with captivating tightrope walking.

While all design elements are wonderful, with costume design by Mandi Johnson and Samantha Kuhn Staneart, sound design by Jacob M. Davis, lighting design by Julia Carlis, and props design by Abbee Warmboe, I was most taken by the set, which is not built but projected on a backdrop, allowing for it to be erased and blown away like chalk on a blackboard or show a chair with balloons floating in the air. The illustrations are by Max Lindorfer and add an extra level of magic and creative possibility to the atmosphere of the show.

Bittersweet and beautiful, funny and haunting, this show reminds me of my favorite bits of French literature and film. It’s captivating and hits a chord that captures so many different tones of emotion. What’s most wonderful about this show can’t be described so easily because it’s not what I saw onstage, it’s how it made me feel. There were a hundred different emotions I felt myself processing throughout the performance and am still feeling now. This is a wonderful piece for its work with historical fiction. magical realism, and especially all the complicated things the heart feels and yearns to express. If theater’s job (at least one of its jobs) is to help us understand different experiences and different feelings, then this show does exactly that.

Up: The Man in the Flying Chair is written by Bridget Carpenter and directed by Carin Bratlie Wethern. It is playing now through June 11th at Park Square Theatre. Ticket and show information can be found on Theatre Pro Rata’s website or Park Square’s website.

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Review: The Knight of the Burning Pestle

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Source: theatreprorata.org

I first heard of The Knight of the Burning Pestle from a friend of mine who read it in college and lauded its humor and parodying of Renaissance theater. Written and performed in 1607, it references Shakespearean tropes and Cervantes-esque drama and chivalry and I was elated to see that Theatre Pro Rata was doing it this season.

If you loved Four Humor’s Don Quixote, enjoy spending time at the Renaissance Fair, and/or have any interest in bawdy Elizabethan humor and penis innuendo, this show is for you. A play within a play format, the show begins with the Prologue (David Schlosser) introducing the performance, The London Merchant, only to be interrupted by theater patrons George, a grocer (Ben Tallen) and his wife Nell (Rachel Flynn). Concerned that they are about to be bored and insulted, they take over the show, inserting their apprentice Rafe (George Dornbach) into the performance. The actors portraying the love story of Jasper (Grant Henderson) and Lucy (Julie Ann Nevill) struggle to compete with Rafe’s story line of assuming knighthood, becoming the Knight of the Burning Pestle (an interesting choice of allegiance which leads to phallic references) who is used to prevent Jasper and Lucy’s union, as the grocer and his wife thinks Lucy is better suited for the merchant Humphrey (Andrew Troth). Amidst other stories of the Falstaff-like Master Merrythought who continually breaks into song (Andrew Troth) and his wife (Julie Ann Nevill) who runs off with her favorite son (Davide Scholosser) and the family fortune, Rafe’s story line is inserted again and again as the grocer and his wife make a running commentary almost like Statler and Waldorf from The Muppets or and Renaissance RiffTrax and quite literally steal the show, despite attempts by the stage managing apprentice (Becca Hart) to keep them in line.

The show is chock-full of references to other theater of the time. Rafe’s courageous battle sequence and cheering to St. George is reminiscent of a speech from Henry V and his journey into knighthood and battling giants is very Don Quixote (as is his devotion to his ladylove, Susan). Merrythought is a Falstaff caricature, and Jasper and Lucy are somewhat reminiscent of Romeo and Juliet (though the grocer is clearly in favor of Rosalind). There are many other references, I’m sure, but as I’m no Elizabethan expert, I leave that to the better studied scholars to establish. (And if you are looking for more fun tidbits about the show, check out Pro Rata’s play guide put together by the wonderful dramturg Christine/Kit Gordon. Not that I’m biased or anything.)

I’ve never been in Dreamland Art’s space before but it’s wonderfully suited for the Globe-like setting designed by Gabriel Gomez and audience-interactive performance.(Okay, so this show was actually first performed in Blackfriars Theater, but the pillars of the set draw a strong resemblance in my mind to the Globe.) Filled with music, a variety toy instruments produce much of the sound played mainly by Becca Hart and produce as vibrant soundscape as the personalities portrayed. With lush rich costuming by Mandi Johnson, illuminating lighting by Julia Carlis, clever props by  Abbee Warmboe, and humorous and well-orchestrated fight choreography by Carin Bratlie Wethern, the piece comes together as a delightful montage that celebrates and mocks the themes of the times while showing how adaptable performance can be. The entire cast is wonderful and on point, with timing that wonderful hits home jokes and added audience heckling that is recognizable and hilarious to those who have ever experienced a show with patrons who simply don’t understand certain etiquette, such as opening a noisy snack in the middle of a kissing scene is probably a bad idea (not that I’ve ever experienced this). Tallen and Flynn wonderfully steal this show (for the audience, not just the performers) with their antics and reactions throughout and their reflections on the characterizations, especially Nell’s outcry against Merrythoughts’ treatment of his wife (which, if you’ve ever struggled with Shakespeare’s depiction of women, is much appreciated). Most of all, George and Nell capture what I as an audience member have often longed to do – to insert myself on stage and interact with the characters. Instead of restraining themselves from this yearning, George and Nell create immersive theater well ahead of their time and insist on becoming a part of the story as much as they insist on allowing Rafe his moment of glory onstage.

There is a lot going on in this show, even in the off-stage parts with the actors of The London Merchant sleeping, messing with costumes, trying to control their outrage at the unraveling of the established script, and complaining to stage manager Clara Costello for the grocer and his wife’s intercessions. Amber Bjork’s wonderful directing really shows in handling layers that occur and keeping everything flowing smoothly with the understanding that there isn’t always just one center of attention onstage. This production is really a delight and a perfect way to spend a tranquil summer evening.

 

The Knight of the Burning Pestle is by Francis Beaumont and directed by Amber Bjork. It is playing now through June 19th at Dreamland Arts in St. Paul. Show and ticket information can be found on Theatre Pro Rata’s website.