|Carol Schultz (seated) with Micah Stock standing behind her, Dominic Cuskern, Rachel Botchan, and Sean McNall in a scene from Terrence McNally’s “And Away We Go” at the Pearl Theatre through December 15th.
Photos by Al Foote III.
Theater has evolved over the centuries. Greek tragedies and comedies had state sponsorship, and free admission for all. Time moves on, and the theater continues to serve different audiences in different times. State assistance can also bring censorship, of course. With privatization come the headaches of raising funds to keep the shows going.
Meant as a love poem to theater and its folk, Terrence McNally’s “And Away We Go,” at the Pearl Theatre Company through December 15th, mashes the traditions and tribulations of actors, acting and acting companies into a historical pastiche.
As it goes traipsing across the vast panoply of theater history, “And Away We Go,” ambles through the Greek festivals, over to Richard Burbage’s English stage, to the French and Russian revolutions and the playwrights who embodied them, to the impecunious present with a brief stop for Bert Lahr’s “Waiting for Godot” in Coconut Grove in 1956.
“And Away We Go” succeeds at being sometimes funny, sometimes maudlin, occasionally insightful, sometimes dreary, with the French (Versailles 1789) and Russian (Moscow Art Theatre 1896) sequences gratuitous and poorly executed. Many theatrical styles and periods are overlooked, others are overbooked.
The Greeks practiced a long form that has continually been whittled down so that McNally and his contemporaries tend towards the shorter play. “And Away We Go” attempts to find its perspective and cover the full range of theatrical history in under two intermission-less hours.
By the way, I learned that it was the French who brought us the interval. In Shakespeare’s time, the audience came and went as the actors performed.
Given the breadth of this survey, it would appear that McNally isn’t aware that you can’t do it all in one evening. Sandra Goldmark has created a scenic design that makes the stage look like a gigantic prop room. It’s also a busy day at the office for the Pearl’s troupe, all of whom are more than willing to tackle McNally’s short but expansive text.
Sean McNall and Dominic Cuskern, both Pearl Company regulars, distinguished themselves well. Both Carol Schultz and Rachel Botchan, also long time Company members, gave fine performances, with Ms. Schultz doing a particularly nice turn as Shirley Channing, executive director of a resident theatre company.
Donna Lynne Champlin, a Broadway and off-Broadway vet making her first Pearl appearance, was very very good in all her many roles. Micah Stock, another guest at the Pearl, had some difficulty with his French playwright, Christophe Durant, but was very good as Pallas, a member of the Greek chorus, and Kenny Tobias of the Coconut Grove concession stand.
For more information about “And Away We Go,” and the Pearl Theatre Company, please visit the Pearl website.