Changing roles, critic directs Rust Belt’s ‘Reasons to Be Pretty’
IF YOU GO
What: “Reasons to Be Pretty”
Where: The Calvin Center for the Arts, 755 Mahoning Ave., Youngstown
When: 8 p.m. Friday and Saturday and June 24 and 25
Tickets: Call 330-507-2358
- Place:Calvin Center
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755 Mahoning Ave., Youngstown
The Vindicator faced an unusual dilemma when it came time to write a preview article for the upcoming Rust Belt Theater Company production of “Reasons to Be Pretty.” Because Vindicator critic Milan Paurich writes most of the paper’s theater previews — and since Paurich is directing “RTBP” — he couldn’t very well interview himself.
Paurich asked Rust Belt major domo Robert Dennick Joki (the subject of numerous Paurich-penned Vindicator previews) to compile a list of “Pretty”-related questions.
Here’s a transcript of that exchange:
Q. This is your second time directing community theater in the Youngstown area — the first time being a well-received production of David Mamet’s “Speed-the-Plow” at the Oakland Center for the Arts last fall. Are you more at ease having already directed a successful production? Or are you feeling any pressure to deliver another quality show?
A. The entire rehearsal process has been a lot less stressful — and a lot more enjoyable — than it was my first time out. And that’s despite the fact that our pre-production schedule was expedited since we didn’t even know if we were getting the (licensing) rights until Memorial Day weekend. Pressure goes with the territory, though. Nobody should rest on their laurels, and the goal of delivering a first-rate production should be paramount on any/every director’s mind when tackling a new show.
Q. “Reasons to Be Pretty” is the final chapter in Neil LaBute’s “Beauty Trilogy.” Are you a fan of the other two plays (“Fat Pig” and “The Shape of Things”)? And what made you want to direct “RTBP”?
A. I’ve been a huge LaBute fan since his first movie as writer/director (1997’s scorching “In the Company of Men”), which pretty much set the template for most of his later work in theater and film. I really think that “RTBP” is LaBute’s finest playwriting achievement to date. It’s the warmest, most empathetic and definitely most accessible of all his plays. Additionally, I think it’s the only time where LaBute doesn’t open himself up to charges of either misogyny or misanthropy (laughs). Another huge plus is that the dialogue is so wonderfully naturalistic/conversational. While reading the script, it really does feel more like a screenplay than a stage play.
Q. What made you decide to direct at Rust Belt?
A. I had a great experience on “Speed-the-Plow” last fall, and it definitely triggered my desire to tackle another play. But since I have very limited availability due to my “day jobs,” scheduling is a problem. Summer is a relatively “off” period for me (no classes to teach; a relatively calm play-reviewing schedule, etc.), though, so when the opportunity presented itself, I jumped at the chance. I think that RB is doing some of the most exciting, eclectic theater in the area — I love their whole funky, off-off-Broadway dynamic. It was an honor to be selected as the first “independent contractor” — so to speak — to direct a show there.
Q. Who’s appearing in the show? And is it difficult to direct performers you’ve previously reviewed?
A. Cheney Morgan, Candace DiLullo (my personal good-luck charm after “Speed-the-Plow”), Chuck Kettering and Terri MacSkimming are starring in the show.
Since I’ve only done this twice, it hasn’t been a real issue for me. I’m a huge fan of all the actors I’ve worked with, so it’s a thrill just watching them work. Their instincts are so dead-on that you’d swear they were professionals.
Q. What’s the play about?
A. It’s basically the story of the death of a relationship. Twentysomething couple Greg and Steph have been living together for four years without ever being able to take the next step (marriage; kids; whatever). As the story opens, they’re having a blow-out fight because of a comment Greg made about Steph’s looks to his best friend, Kent, which was overheard by Kent’s wife (Carly). But really it was just the trigger Steph was looking for to make some serious changes in her life: a life that doesn’t necessarily include Greg. At heart, “RTBP” is about language. How words can be used — either as a weapon or a balm — be misinterpreted or misunderstood and as a tool to express one’s deepest feelings. Even if you aren’t entirely sure what those feelings are. The inchoate longing of these characters is, for me (and I hope the audience), both palpable and tremendously moving.
Q. The chapel at the Calvin Center is an even more intimate venue than the Oakland. Was it more of a challenge directing a cast in such close proximity to the audience?
A. I love the ability to bring the actors up close and personal with the audience. My biggest headache has been the sightlines. Because the audience will be on the same level as the actors throughout the production, there’s a natural tendency to worry that some of the action may be obscured, even lost, by the heads of the people sitting in front of you. But the chapel space worked beautifully for RB shows such as “Someone Who’ll Watch Over Me” and last summer’s Greek Trilogy, so maybe it’s not such a big deal after all (laughs).
The intimate space also means less muss-and-fuss regarding sets, furniture and props. To combat that, we’ll be using rear-screen projection to help simulate our settings.
Q. You recently reviewed LaBute’s “Fat Pig” at the Oakland. Did that production affect any of your (directorial) decisions for “Reasons to Be Pretty”?
A. I liked the fact that “FP” director Christopher Fidram trusted the dialogue and let it play out without feeling the need to add any extraneous “busyness.” If two people are having a conversation on stage — and if the dialogue is as compelling as it is in LaBute — there’s nothing intrinsically wrong with letting them sit and talk.
That’s probably the most important “lesson” the Oakland production taught me: to respect the language and let it breathe.
Q. Because of the Hollywood setting, “Speed-the-Plow” incorporated a lot of movie music for its soundtrack. What type of songs will you be using in “RTBP”?
A. It’s a soundtrack composed entirely of Philadelphia soul music from the 1970’s (the Delfonics, the O’Jays, the Stylistics, etc). I love that whole period, and it fits in beautifully with the play’s blue-collar vibe.
Q. Do we see any musicals in your future?
A. “Minimalism” is my mantra, and I like to keep things as stripped-down and elemental as possible with small casts, limited set/production design and an emphasis on the performances. Since musicals are traditionally large-scale enterprises that require dozens of actors, singers, dancers and lots and lots of tech concerns (a musical director, choreographer, orchestra, etc.), I don’t think I’ll be attempting anything by Stephen Sondheim or Andrew Lloyd Webber in the near future (laughs).