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Cellini |
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Author: John Patrick Shanley
Reviewer: David Roberts for Theatre Reviews Limited |
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John Patrick Shanley's "Cellini" is the perfect play for the start of any new millennium when angst and ennui seem to co-exist with remorse and self-doubt perhaps more than at any other time. Though the play was first produced in 1998, the struggles of its protagonist Florentine sculptor Benvenuto Cellini seem to fit better the paradigms of the new millennium.
Like his twenty-first century counterparts, Benvenuto Cellini has a strong work ethic and counterpoints his labor with hard living, hasty loving, and heightened libido. Playwright John Patrick Shanley believes that "the struggle an artist [like Benvenuto Cellini] goes through is the same struggle everyone goes through, with whatever they choose to do. How much commitment do you have? How honest are you willing to be? How badly do you want to do this?"
  
Reg Rogers' Cellini brings these struggles to the stage with unbounded energy and passionate focus. Along with a superb ensemble cast, Mr. Rogers makes Cellini's story every audience member's story and Cellini's quest everyone's quest. Ultimately, we all want to know whether what we said and did during our years on planet Earth made any difference at all.
Adapted from "The Autobiography of Benvenuto Cellini," John Patrick Shanley's "Cellini" bristles with the life force of an amazing sixteenth century character who faced and overcame all odds of reaching his goal: casting the bronze statue of Perseus slaying Medusa. No benefactor (not even a Medici), no Pope, no lover, no antagonist douses the "flame in the chamber of [Cellini's] heart where God has set a fire."
The audience quickly and easily identifies with Cellini's story, especially his almost obsessed equating of the person and the person's work. Some will even resonate with Cellini's belief that one needs to return the favor of being created. "I have got to work," Cellini cries, "I will not fail."
"Cellini's" cast is magnificent. Most of the actors are called upon to play several challenging roles, often with different regional accents and each does this almost flawlessly. Lisa Bansavage can be duchess or serving maid without the audience realizing she plays both roles. David Chandler's Pope Clement is as jealous and vindictive as his workman is cheerful and cooperative. Daniel Oreskes gives the audience a fairly flat Duke of Florence but fares better with his other two roles. Lucas Papaelias (photo left with Reg Rogers), making his Off Broadway debut, is charming, funny, and as on-target as any seasoned actor.
Gary Perez is a great Tasso and Richard Russell Ramos brings appropriate vagary to both his Pope Paolo and his King Francois. Reg Rogers and Jennifer Roszell (photo below right with Reg Rogers) make wonderful magic together on the stage and give "Cellini" the foundation and the flight that makes the play work from beginning to end. John Gould Rubin brings an edge to each of his characters, particularly Bandinello, that pushes the audience member forward on her or his seat.
There are moments of sheer (almost inexplicable) beauty in this production. How can one forget lines like, "I will not destroy my life for fear of falling short." Adrianne Lobel's sets are wonders to behold and marvels to watch in motion. Brian Nason's lighting is almost always transcendent. Martin Pakledinaz' costumes not only look good, they move well. And very few artists know sound like David Van Tieghem knows and transforms sound.
At one point in the play, Cellini bellows, "nothing will be wasted!" Nothing in this Second Stage production of "Cellini" is wasted. At the close of the play, as at the end of Cellini's day, you will "be glad [you were] born" and will celebrate "being in the presence of greatness." Do whatever you need to do to get tickets to "Cellini."
Reviewed on Thursday, February 15, 2001
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Written and directed by John Patrick Shanley. Sets by Adrianne Lobel; costumes by Martin Pakledinaz; lights by Brian Nason; original music and sound by David Van Tieghem; production stage manager, Janet Takami. Presented by 2econd Stage Theatre (Carol Rothman, Artistic Director/Mark Linn-Baker, 2001 Season Artistic Director/Carol Fishman, Managing Director/Alexander Fraser, Executive Director) in association with New York Stage & Film at Second Stage Theatre, 307 West 43rd Street, just west of Eighth Avenue through Sunday, March 4th on the following schedule: Tuesday, Thursday, and Friday at 8:00 p.m.; Wednesday at 2:00 p.m. and 7:00 p.m.; Saturday at 2:00 p.m. and 8:00 p.m.; and Sunday at 3:00 p.m. Tickets range from $30.00 to $50.00 and may be purchased by phoning (212) 246-4422 or (800) 766-6048. Limited student rush tickets are $10.00 and are available thirty minutes prior to curtain. Group tickets are available by phoning (212) 889-4300 or (800) 331-0472. Box-office hours are Tuesday through Saturday Noon to 6:00 p.m. and Sunday Noon to 4:00 p.m.
WITH: Lisa Bansavage (Duchess, Gambetta, Serving Maid), David Chandler (Pope Clement, Bargello, Gorini, Workman, French Treasurer), Daniel Oreskes (Duke of Florence, Judge, Merchant), Lucas Papaelias (Boy, Workman, Bernard, Giacomo), Gary Perez (Tasso, Judge), Richard Russell Ramos (Pope Paolo, Riccio, King Francois, Workman), Reg Rogers (Cellini), Jennifer Roszell (Caterina, Mona Fiore), and John Gould Rubin (Bandinello, Cardinal Cornaro, Workman, Judge).
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