Director brings vision to 'The Miracle Worker'

By Milan Paurich

Based on Helen Keller’s autobiography “The Story of My Life,” William Gibson’s “The Miracle Worker” began life as a 1957 presentation of the old Playhouse 90 television series. Gibson eventually adapted his teleplay for the stage, and it opened on Broadway two years later. Despite various film adaptations over the years — in 1962, 1979 and 2000 — Gibson’s work remains a uniquely and unmistakably theatrical work.

Local audiences will get the chance to see this moving portrayal of Keller and teacher/mentor Anne Sullivan when the Victorian Players’ production of “The Miracle Worker” opens Friday for a three-weekend run. Jack Ballantyne, the show’s director, sat down for a recent chat to share his insights on staging such a difficult piece.

Q. You’re one of the busiest and most talented multi-hyphenates on the local community theater scene. Tell us a little bit about your background.

A. Well, I just celebrated my 46th year in theater this month. I’ve done pretty much everything at one point or another. I did a lot of stage-managing in my early days at both Pittsburgh’s Civic Light Opera and The Kenley Players. And I’ve been directing since the early 1970s — in Pittsburgh, Youngstown, Columbus, even Missouri. Plus, I’ve acted off and on for all of those 46 years. I didn’t really start writing until the late ’70s. My first major work was “Specter of Treason: The Oswald Trial,” which dealt with the assassination of JFK. I was fortunate to get international recognition for the play, including some personal input from Oliver Stone. My writing just sort of took off from there.

Q. You seem to bounce around a lot: the Youngstown Playhouse, the New Castle Playhouse, Victorian Players, even the Oakland. Is there one local theater that feels most like home?

A. Like theater people in general, I basically go wherever the work is. I don’t know if I have a theater that feels like home, although the (Youngstown) Playhouse probably came closest for me.

Q. Your directorial r sum is studded with heavyweight post-WW II dramas (“The Diary of Anne Frank,” “The Crucible,” “Death of a Salesmen,” “Miracle Worker”). Is that a period in American theater that you’re particularly drawn to?

A. It isn’t the period that attracts me so much as the plays themselves. I seem to be drawn to drama more than comedy for some reason. I’ve done lots of comedies, but drama seems to be my particular niche. I find it easier to write than comedy, and also more interesting and challenging to act and direct.

Q. Who’s appearing in the Vic’s “Miracle Worker”?

A. We’ve got a terrific group of local actors. Lisandra Stebner (Helen Keller), Sara Klimenko (Annie Sullivan), C. Richard Haldi (Captain Keller), Barb Milizia (Kate Keller), Cheney Morgan (James Keller), Andy Magusiak (Mr. Anagnos) and Joyce Jones (Viney).

Q. How much sign-language training have your leads undergone to play their roles?

A. Li and Sara have both worked hard on their signing. They were already somewhat familiar with it when we began, so they kind of taught themselves what they didn’t already know. It’s important for them to look comfortable signing onstage.

Q. What’s the biggest challenge for director and cast in a work as heavily dramatic (and physically challenging) as “The Miracle Worker”?

A. Besides the blind element, the toughest part of a show like this is its sheer physicality. It’s been very demanding — even downright brutal at times — on both Li and Sara. And being as close as we are to the audience at the Vic, the slaps and hits need to have a strong dose of reality to them. We’ve spent a tremendous amount of time on fight choreography alone. The blind aspect is also difficult, not just to learn, but to maintain. We’re constantly working with Li to help her stay consistent with Helen’s lack of sight, speech and hearing. Sometimes she’ll forget and react to an offstage sound.

Q. Since most people know “The Miracle Worker” from the Oscar-winning black-and-white 1962 movie version starring Anne Bancroft and Patty Duke, are you planning to give the production a sepia look by de-emphasizing primary colors and using mostly black and white costumes/sets?

A. I really haven’t gone that route with this show. The play itself should be the primary focus, so I’m not trying to impose any particular look or style. I want the audience to appreciate the characters and get a real sense of just how hard life was for both Helen and Annie.

Q. Do you have any immediate plans: directing, acting or writing?

A. I’ll be directing Arthur Miller’s “All My Sons” this summer in New Castle. Other than that, I really don’t have anything concrete on the horizon. I have a tentative idea for a new script based on a true story that took place in France during World War II but need to get the research done first. There’s also been some rumblings about a new production of “Specter of Treason” to take place in November 2013, the 50th anniversary of JFK’s assassination. I’ve actually made the decision to partially retire from theater. I’ll still do some directing and writing, but I’ve stepped down from the YACTA except for maintaining my membership via J&B Production Arts Services. Some recent events — including a bout with prostate cancer that I’m still dealing with — have made me lessen my focus on theater and head in a slightly different direction.

Q. The Victorian Players has flown under the radar of many local theatergoers for too long. What words of encouragement do you have for someone who’s never visited the Vic before?

A. The Victorian is a great experience for the audience. Because you’re so close to the stage, the action is always clearly in view, and it almost becomes an immersive-type of theater. The Victorian does shows that nobody else in the area is doing. Their talent pool has grown tremendously in recent years, and many of our top actors regularly perform there. Plus, the price is right. Tickets are less expensive than at many other local theaters since it’s a smaller venue with lower operating costs.