Waiting for Pierrot
Created by Allison Latta, Noel Williams,
and Anthony Courser
Directed by Anthony Courser
Vittum Theatre, 1012 N. Noble (map)
thru Nov 28 | tickets: $10 | more info
Check for half-price tickets
Short, sweet, and smart commedia dell’arte
TriArts Commedia Dell’Arte Ensemble presents
Waiting for Pierrot
Review by Keith Glab
Allison Latta, Noel Williams, and Anthony Courser – accomplished performers of commedia dell’arte – reunite after nearly a decade hiatus to reprise their characters in a world premiere show.
Ruby (Allison Latta) and Gertrude (Noel Williams) are a pair of inseparable elderly ladies who bicker on a bench and unsuccessfully attempt to leave it. Unlike Beckett’s unsubtle play on words, it isn’t clear what these characters are waiting for or where they are trying to go. One of the characters will succeed in leaving every so often so that another character played by the same actress can take the stage. Latta doubles as Grace, Gertrude’s pregnant daughter who searches for a man to replace the one who knocked her up. Williams doubles as Chastity, a mime who communicates by making sound effects on her chastity belt, which can only be removed once a man falls in love with her. These two characters can be thought of as actively seeking Pierrot, a commedia dell’arte stock character who is traditionally a buffoon husband.
The actresses sink back into their characters with relish, appearing to enjoy themselves onstage as much as the audience does. Latta has exceptional vocal talent that she utilizes to differentiate between her two characters. Grace has a raspy, serpentine voice filled with enthusiasm while Ruby’s is sarcastic and defeated. The difference in her characters’ physicality is more subtle, as she gives both Ruby and Grace an exaggerated stoop. Williams not only gives Gertrude her distinctiveness through voice and body language, but her mouth isn’t covered by her enormous mask and she is able to emote well with it. Chastity has tremendous energy and innocence as a girl hilariously uninitiated in the ways of seduction.
The performance is funny and engaging most of the time, but it really takes off whenever the audience gets involved. Chastity practices her flirtation with an empty chair that develops a wandering eye for one member of the audience. Ruby selects another audience member for her new man and renames him “Better Steve” to differentiate between him and her old flame. On other occasions, the performers break the fourth wall by referring to the audience, but the actual interaction between actors and onlookers is more interesting and more in line with the improvisation that characterizes commedia dell’arte.
In just an hour, Waiting for Pierrot makes you laugh more than many full-length comedies. It also features some tender moments that make you stop and think. This is an affordable way to have some fun with a rare art form performed by masters of their craft.
Rating: ★★★
Waiting for Pierrot continues through November 28th at Vittum Theatre, 1012 N. Noble (map), with performances at 7:30pm on November 14th, 19th, 22nd, 26th, 27th, and 28th. Tickets are $10 and available online through BrownPaperTickets.com (check for half-price tickets at Goldstar.com). More information by calling 773-818-8808 or visiting their Facebook page. (Running time: 1 hour with no intermission)
Photos by Thulson Design
artists
cast
Allison Latta (Ruby and Grace), Noel Williams (Gertrude and Chastity)
behind the scenes
Anthony Courser (director); Noel Williams (masks, costumes, props); Simon Lashford (set design); Carrie Hill (lighting); Thomas Kelly (stage captain); Halena Kays (creative direction consultant); Thulson Design (photos)
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