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Playhouse returns with ‘Barefoot’
The theater company will return to its building for the first play since last fall.
For the first time since September, a new production will be opening this weekend at the Youngstown Playhouse.
That collective sigh of relief you hear is from community theater fans and civic boosters, many of whom worried that the Playhouse might remain forever dark.
Choosing Neil Simon’s 1963 romantic comedy “Barefoot in the Park” to inaugurate a new era in YP history might not seem — on paper, anyway — like the most ambitious of undertakings. But as the theatrical equivalent of comfort food, few plays are as audience-friendly, and dependably entertaining, as a well-tuned production of “Barefoot.”
Fortunately, the Playhouse board turned to some trusted old friends including John Cox (who will be making his directorial debut), Candace DiLullo, John Pecano, Molly Galano and Tim McGinley to help turn things around. And with a veteran cast of such proven talent, laughter should once again be ringing through the Great Gray Lady’s cavernous halls.
Despite being the youngest member of that starry “Barefoot” ensemble, 23-year-old DiLullo has already proven her mettle with a series of acclaimed performances in shows as diverse as “Who’s Afraid of Virginia Woolf?” (which won her a 2008 Marquee Award as Best Supporting Actress), “Enchanted April,” “The Glass Menagerie” and, most recently, “Rabbit Hole.”
The vivacious 2004 Poland High School graduate recently sat down for an interview to discuss her upcoming role.
Q. Because you’ve done so many heavy-duty dramas in recent years, was it a relief to finally take on a role as girly-fluffy as Corie Bratter in “Barefoot”?
A. Frankly, it’s been a nice change of pace. I’m enjoying being spunky and positive (laughs). It was a little frightening at first, but it’s always good to give yourself over to a new challenge.
Q. As an actor, what do you think is harder? Comedy or drama?
A. I like having a combination of both in the same role. “Virginia Woolf” was fantastic in the sense that it was a drama laced with dark comedy. What I appreciated the most about “Rabbit Hole” was that it never got too heavy.
There were some very serious things happening onstage, but there was always something to lighten things up, too. But which is harder? I’d say comedy by far. I’ve always found it easier to make an audience cry than laugh because laughter is just so unpredictable.
Q. Are there any special exercises you do to help get into a new role/character?
A. When starting a new role, I always make a song playlist that has some significance to either the show or my character. I also spend a great deal of time thinking about events that happened to the character that aren’t in the script. I love building background stories for my characters and finding someone in my personal life to base a role on. I do a lot of jumping, too. For reasons unbeknownst to me, ten minutes before curtain I’ll just stand in one spot and begin jumping. I guess it’s to get the jitters out and build up energy. For “Rabbit Hole,” a major part of my preparation was to do whatever I could to make Sarah (Klimenko) laugh. I’d dance like a fool, or just say really silly, inappropriate things.
Q. Thanks to cable and DVD, even people who’ve never seen “Barefoot in the Park” on stage are familiar with the 1967 movie version starring Jane Fonda and Robert Redford. Was it difficult stepping into a role that’s so identified with an actress as iconographic as Fonda?
A. I can’t be Jane Fonda and (John) Pecano isn’t Robert Redford, so I hope no one is expecting that. I promise you that you’ll enjoy me playing Corie Bratter far more than you would watching me attempt to play Jane Fonda playing Corie Bratter (laughs).
Q. Has there been any attempt to update Neil Simon’s text? Or are you doing it as a 1960s period piece?
A. Nope. We’re keeping the show right where it belongs. I really don’t think it would work if we modernized it. To me, the show is all about transitions. Corie and Paul are starting life as a married couple. Mr. Velasco is realizing that he may not be the young debonair he thinks he is; or was. Ethel, Corie’s mom, is going through the Empty Nest syndrome, but also discovering that she needs to start living for herself.
It’s only appropriate that the show is set at a time when America itself was going through a major transition — the early 1960’s.
Q. The company of “Barefoot” had an accelerated rehearsal schedule. Did everyone put themselves into a summer stock frame of mind?
A. Well, we’re currently rehearsing in a basement, so I think the only thing left would be to rehearse in a barn (laughs). There were some nights when I’d leave a “Rabbit Hole” rehearsal and go straight into a “Barefoot” rehearsal. That was tiring, and tough. But, I’ve been lucky to work with such a talented and understanding group of people. What helped a lot is that (John) Pecano and I are a couple in real life. So the romantic stuff was already out of the way.
Sometimes the hardest thing for an actor is kissing someone you barely know. Luckily we didn’t have to worry about that.
Q. Some actors have remarked that the stylized comic dialogue in a Neil Simon play is even more difficult than reciting Shakespearean verse. How do you maneuver Simon’s whiplash verbiage and keep the procession of one-liners from sounding too much like a wind-up joke machine?
A. I actually found Simon to be one of the easiest playwrights to memorize. As for the dialogue, I try not to overthink it and just do what comes naturally. Corie and I are similar in the sense that she doesn’t really try to be funny, but just ends up that way. The biggest challenge has been putting myself into Corie’s naive, lovey-dovey mindset.
Q. At 23, you’ve already played your share of great roles (Laura in “Menagerie;” Honey in “Virginia Wolf”,” etc.). Are there any prized parts that you’re keeping on a wish list?
A. Well, I would love to do Maggie in “Cat on a Hot Tin Roof” again. Now that I’m a bit older, I think I could understand the character better.
Constanze in “Amadeus” is pretty high on that list, and I’ve wanted to do “The Philadelphia Story” for years. I haven’t really had an opportunity to check out a lot of newer plays, but I’m intrigued by “August: Osage County.” I’ve been meaning to look into “Spring Awakening” (the 1891 play on which the musical is based). The small amount of research I’ve done has really intrigued me. The play was apparently banned on numerous occasions, so of course it’s something I need to check out (laughs). I could go on forever. There are just so many great plays and roles out there.
Q. Will acting always remain an avocation, or have you been tempted to test the waters in a bigger fish pond like New York or L.A.?
A. I never really wanted to turn acting into anything more than a hobby.
I’d prefer to keep it as something I love to do rather than something I have to do in order to pay the rent. Although I’ve been wrestling with the idea of auditioning for some professional theater companies, I don’t plan on moving to New York any time soon. And you couldn’t pay me to move to L.A. I hate the heat!
Q. In “Barefoot,” John Cox who played your husband in “Virginia Wolf?” is directing; and John Pecano — your “Wolf?” director — is playing your husband. Does any of that ever get confusing?
A. Not really. I keep who’s who pretty straight in my head (laughs). But my current director is always boss. I will say that (“Barefoot” director) John Cox has done a fantastic job in his directorial debut. It was a relief knowing that someone who I consider to be hilarious in real life was directing me in my first comedy.
If you go
What: “Barefoot in the Park”
Where: The Youngstown Playhouse; 600 Playhouse Lane (off Glenwood Avenue)
When: Friday, Saturday, July 12, 17, 18 and 19
Tickets: Call (330) 788-8739