Wednesday, January 27, 2010
'Precious Nonsense' is a silly show, and that's the point
By Barbara Adams • Correspondent • Ithaca Journal
January 21, 2010, 12:00 am
It's a most ingenious paradox - staging an operetta with only seven actors while offering a parodic homage to William Gilbert and Arthur Sullivan, all in Ithaca's diminutive downtown performance space.
The paradox prevails in the Kitchen Theatre Company's current reprise of its delightful 2005 show, "Precious Nonsense." Artistic director Rachel Lampert has composed both story and lyrics, with grateful indebtedness to Gilbert's lyrics and Sullivan's music.
This time around, Margarett Perry directs, bringing her always-satisfying vision to the Kitchen's space, producing (with Lampert's musical staging) a visually layered comic opera that sweeps you up in its tiny spectacle. It's post- Depression America, and the Carter Family Savoyards are booked into the small-town Blue Barn Theatrical Palace (the charmingly weathered set is by Hannah Davis, lit with splendid texture by Daniel Hall). As music director, Richard Montgomery provides piano accompaniment - along with some atrocious clichés.
The company (mother, father, son Frederic, friend Josephine and stage manager Pete) had counted on performing a revue of G&S favorites, but discover they've been booked for a complete production of "The Pirates of Penzance" instead. No operetta, no pay - so the troupe promotes Pete, adds a mysterious stranger and gives a chance to a stage-struck local kid who knows the G&S repertoire inside out.
Act One assembles all the parts (and conflicts); Act Two presents the hodgepodge "Pirates" in full swing, chaotic with missed cues, endless cross-dressing and wayward moustaches. As Carter company head, Joel Robertson could afford to occupy more space, be more bombastic - both as dad and Major-General; last week, he and stage wife Angelina (Perri LoPinto) only began to shine in the second act's multiple-role mayhem (nicely enhanced by Lisa Boquist's many costumes).
Jesse Bush amusingly presents their slightly dim son Frederic, counting the minutes until his 25th birthday when, no longer "The Slave of Duty," he may leave the troupe to make a life of his own. But Josephine (the sparkling, vocally thrilling Erica Steinhagen) has other plans: The elder Carters want to retire, and if Frederic doesn't continue the company, Jo's meal ticket is likewise gone. Enter Mack, Jo's clever solution (nimbly played by Jessica Carr).
Ithaca College freshman Kurt Merrill holds his own as the gangly, lovesick kid who's game to take on any role. But as funny as this tall lad is in long skirts, the scene-stealer is Jake Paque as Pete - equally smitten with Josephine but much more ambivalent about blustering as the Pirate King. Confident as stage manager, he's speechless the minute he finds himself under the lights, and his timorous handling of his sword is hysterical.
A mid-winter gift of supreme silliness, "Precious Nonsense" makes you glad the show must go on.
* "Precious Nonsense" continues through Feb. 7 at The Kitchen Theatre, 116 N. Cayuga St., Ithaca. Performances are 7:30 p.m. Wednesday and Thursday, 8 p.m. Friday and Saturday, with matinees at 3 p.m. Saturday and 4 p.m. Sunday. For tickets, call 273-4497.
January 21, 2010, 12:00 am
It's a most ingenious paradox - staging an operetta with only seven actors while offering a parodic homage to William Gilbert and Arthur Sullivan, all in Ithaca's diminutive downtown performance space.
The paradox prevails in the Kitchen Theatre Company's current reprise of its delightful 2005 show, "Precious Nonsense." Artistic director Rachel Lampert has composed both story and lyrics, with grateful indebtedness to Gilbert's lyrics and Sullivan's music.
This time around, Margarett Perry directs, bringing her always-satisfying vision to the Kitchen's space, producing (with Lampert's musical staging) a visually layered comic opera that sweeps you up in its tiny spectacle. It's post- Depression America, and the Carter Family Savoyards are booked into the small-town Blue Barn Theatrical Palace (the charmingly weathered set is by Hannah Davis, lit with splendid texture by Daniel Hall). As music director, Richard Montgomery provides piano accompaniment - along with some atrocious clichés.
The company (mother, father, son Frederic, friend Josephine and stage manager Pete) had counted on performing a revue of G&S favorites, but discover they've been booked for a complete production of "The Pirates of Penzance" instead. No operetta, no pay - so the troupe promotes Pete, adds a mysterious stranger and gives a chance to a stage-struck local kid who knows the G&S repertoire inside out.
Act One assembles all the parts (and conflicts); Act Two presents the hodgepodge "Pirates" in full swing, chaotic with missed cues, endless cross-dressing and wayward moustaches. As Carter company head, Joel Robertson could afford to occupy more space, be more bombastic - both as dad and Major-General; last week, he and stage wife Angelina (Perri LoPinto) only began to shine in the second act's multiple-role mayhem (nicely enhanced by Lisa Boquist's many costumes).
Jesse Bush amusingly presents their slightly dim son Frederic, counting the minutes until his 25th birthday when, no longer "The Slave of Duty," he may leave the troupe to make a life of his own. But Josephine (the sparkling, vocally thrilling Erica Steinhagen) has other plans: The elder Carters want to retire, and if Frederic doesn't continue the company, Jo's meal ticket is likewise gone. Enter Mack, Jo's clever solution (nimbly played by Jessica Carr).
Ithaca College freshman Kurt Merrill holds his own as the gangly, lovesick kid who's game to take on any role. But as funny as this tall lad is in long skirts, the scene-stealer is Jake Paque as Pete - equally smitten with Josephine but much more ambivalent about blustering as the Pirate King. Confident as stage manager, he's speechless the minute he finds himself under the lights, and his timorous handling of his sword is hysterical.
A mid-winter gift of supreme silliness, "Precious Nonsense" makes you glad the show must go on.
* "Precious Nonsense" continues through Feb. 7 at The Kitchen Theatre, 116 N. Cayuga St., Ithaca. Performances are 7:30 p.m. Wednesday and Thursday, 8 p.m. Friday and Saturday, with matinees at 3 p.m. Saturday and 4 p.m. Sunday. For tickets, call 273-4497.
Q & A with Rachel Lampert in the Ithaca Times
Encore at the Kitchen: Q&A with Kitchen Theatre's Rachel Lampert
Jim Catalano
Arts Editor
In 2005, the Kitchen Theatre Company premiered "Precious Nonsense," a tribute to the work of Gilbert & Sullivan with book and lyrics written by KTC artistic director Rachel Lampert. The show is now back for another run through Feb. 7 (you can read a review online at www.ithaca.com), with a almost entirely new cast and direction from Margarett Perry.
Recently, Lampert talked with the Times about the show's encore presentation, as well as the status of the KTC's fund-raising drive to support the move to its new building on West State Street.
Q: What inspired you to take another run at "Precious Nonsense"? What advantages do you have the second time around?
Rachel Lampert: When its cold outside we like to produce something warm and cozy at the Kitchen. Precious Nonsense fits that bill. It's almost too large for the Clinton House space, so it has been fun to put on a last "big" show before we move later this spring to the 417 West State/Martin Luther King Street. We are able to use the original set, as we stored it (we save everything to recycle and reuse) and that provides a healthy savings.
The Kitchen is known for its edgy productions and for pushing the envelope, but there's another side of our work which is pure fun. I think it is important to keep a balance. And, as the author of this play, I enjoy getting a chance to look at it again and make a few changes to clarify plot, character and maybe find a few more jokes.
Q: What's different about this production? What does Margarett Perry bring to it as director?
RL: The cast for this encore production is all new except for the delightful Erica Steinhagen, who was in the original. And, luckily, Richard Montgomery is back as music director.
The play is a tightly written, stylized piece, so it is interesting to have it come to life with a new company of actors and director. There are certain "bits" and "lazzi" that are central to the style of the play, so those have to be recreated. We've generally remounted the original staging by director Sara Lampert Hoover and my musical staging. Margarett's keen ear and dramaturgical skill has sharpened the story telling with a few re-writes she suggested I make. And, she is fabulous working with the actors on their performances.
The most fun for me is to see how other comic/actor/singers interpret these zany characters. As we got closer to opening it was been thrilling to see new things bubble onto the stage - hilariously acted by this company.
I wrote this play to keep myself laughing during a time in my life I wasn't laughing enough. I am happy to report, the laughter is there and Margarett's ebullient direction and leadership keeps things frothy with just enough sentiment to make the play heartfelt and real.
Q: Why have Gilbert & Sullivan proved to be so enduring in the theater world?
RL: Genius lyrics and beautiful melodies! And, like Shakespeare's plays, the Gilbert & Sullivan repertory has an infectious appeal to professionals and amateurs to try their hands at it. G&S is a "classical repertory" of music theater.
Q: Any update on the fund-raising drive for the new building?
RL: We are almost finished with the campaign. The renovations are on-going and we hope to be in the new building in May. We are excited and awed by the enthusiasm, encouragement and support we have received from so many in our community who are helping this project move ahead, and provide a bold, new space for the Kitchen Theatre Company.
Q: Anything else to add?
RL: There is an addition to our usual schedule of Wednesday to Sunday performances. We are doing a Saturday matinee at 3 p.m. as well as an 8 p.m. performance.
I always like to invite newcomers to the Kitchen and now is a great time to see the "old space" before we step out of the this Kitchen into our new home.
Visit www.kitchentheatre.org or call 273-4497 for tickets and more information on the show.
Jim Catalano
Arts Editor
In 2005, the Kitchen Theatre Company premiered "Precious Nonsense," a tribute to the work of Gilbert & Sullivan with book and lyrics written by KTC artistic director Rachel Lampert. The show is now back for another run through Feb. 7 (you can read a review online at www.ithaca.com), with a almost entirely new cast and direction from Margarett Perry.
Recently, Lampert talked with the Times about the show's encore presentation, as well as the status of the KTC's fund-raising drive to support the move to its new building on West State Street.
Q: What inspired you to take another run at "Precious Nonsense"? What advantages do you have the second time around?
Rachel Lampert: When its cold outside we like to produce something warm and cozy at the Kitchen. Precious Nonsense fits that bill. It's almost too large for the Clinton House space, so it has been fun to put on a last "big" show before we move later this spring to the 417 West State/Martin Luther King Street. We are able to use the original set, as we stored it (we save everything to recycle and reuse) and that provides a healthy savings.
The Kitchen is known for its edgy productions and for pushing the envelope, but there's another side of our work which is pure fun. I think it is important to keep a balance. And, as the author of this play, I enjoy getting a chance to look at it again and make a few changes to clarify plot, character and maybe find a few more jokes.
Q: What's different about this production? What does Margarett Perry bring to it as director?
RL: The cast for this encore production is all new except for the delightful Erica Steinhagen, who was in the original. And, luckily, Richard Montgomery is back as music director.
The play is a tightly written, stylized piece, so it is interesting to have it come to life with a new company of actors and director. There are certain "bits" and "lazzi" that are central to the style of the play, so those have to be recreated. We've generally remounted the original staging by director Sara Lampert Hoover and my musical staging. Margarett's keen ear and dramaturgical skill has sharpened the story telling with a few re-writes she suggested I make. And, she is fabulous working with the actors on their performances.
The most fun for me is to see how other comic/actor/singers interpret these zany characters. As we got closer to opening it was been thrilling to see new things bubble onto the stage - hilariously acted by this company.
I wrote this play to keep myself laughing during a time in my life I wasn't laughing enough. I am happy to report, the laughter is there and Margarett's ebullient direction and leadership keeps things frothy with just enough sentiment to make the play heartfelt and real.
Q: Why have Gilbert & Sullivan proved to be so enduring in the theater world?
RL: Genius lyrics and beautiful melodies! And, like Shakespeare's plays, the Gilbert & Sullivan repertory has an infectious appeal to professionals and amateurs to try their hands at it. G&S is a "classical repertory" of music theater.
Q: Any update on the fund-raising drive for the new building?
RL: We are almost finished with the campaign. The renovations are on-going and we hope to be in the new building in May. We are excited and awed by the enthusiasm, encouragement and support we have received from so many in our community who are helping this project move ahead, and provide a bold, new space for the Kitchen Theatre Company.
Q: Anything else to add?
RL: There is an addition to our usual schedule of Wednesday to Sunday performances. We are doing a Saturday matinee at 3 p.m. as well as an 8 p.m. performance.
I always like to invite newcomers to the Kitchen and now is a great time to see the "old space" before we step out of the this Kitchen into our new home.
Visit www.kitchentheatre.org or call 273-4497 for tickets and more information on the show.
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