Sylvia Hughes and Jack McCurdy in Nine
Augustana College’s latest production, directed and choreographed by multi-hyphenate Shelley Cooper, is an area debut and a pleasant surprise. While I knew nothing about Nine before the musical's Tuesday-night dress rehearsal, the show offers a slew of treats for anyone who chooses to attend, regardless of one's familiarity with the material.
As I've subsequently learned, Nine is a stage piece based on a movie (8½) about a director (Guido Anselmi) who was a semi-autobiographical version of the film's real-life director (Federico Fellini). In the theatrical rendition, the newly named protagonist Guido Contini (Jack McCurdy) tries to make a film about himself – which means that Nine is a musical about a movie that’s about a movie that’s about itself. It’s all circular and a little dizzying, which I believe is the intended effect.
Nine feels apocryphal, more about a type of man than an actual man. The type is that of an esteemed genius (as we’re told repeatedly) who seems to be an all-around asshole but is given a free pass because of his alleged artistry. Which does seem to be a rather persistent theme in the entertainment industry, doesn’t it? Thankfully, Cooper’s staging makes it easy for even the Fellini-uninitiated – the un-Fellinitiated? – among us to follow what’s going on.
Presented here in one uninterrupted act, the action follows Guido as he tries to make his aforementioned film. He has everything he needs including actors, locations, costumes … . Everything but a script. What he does have, however, is writer’s block, as well as a wandering eye (not to mention a few other wandering body parts). Even though I’ve spent all this time establishing the premise of the show, plot isn't what Nine is really about. Rather than indulge some deeply masculine naval-gazing, the book instead focuses on the women immediately surrounding Guido – the ones who have managed him, nurtured him, and inspired him.
Most scenes begin the same, with a fan heaping on the praise, followed by a number sung, more often than not, by a woman. These songs all take place within Guido’s mind, as he frantically looks for any inspiration to get his film back on track; some take place in the present, while others take place in the past. Nine, at times, feels closer to an opera than a musical, and Cooper’s forte in the field pays dividends. Additionally, the music direction by Amanda Sherrill sings, if you’ll forgive a bad pun. Especially when the entire ensemble joins together for a number, this show boasts some of the best choral singing I’ve heard in years. My only regret in attending when we did was that my wife and I saw the show on a rehearsal night when only the piano was in the pit, and I can only imagine how much fuller and lusher the music sounds with additional accompaniment.
Yet while the entire ensemble sounds great together, there are still a few actors who manage to stand out with the limited solo time they’re given. I’m thinking of Rose Klinger, who sings “Be Italian,” and Mukupa Lungo, who drips charm in “Folies Bergeres.” Other standouts include Maggie Caliendo (singing “A Call from the Vatican”) and McCurdy, who fills the role of Guido with presence and confidence.
The set design by fellow Reader reviewer Roger Pavey Jr.,is simple: an occasional set of chairs, maybe a table. Often there’s nothing. The largest scenic element is the white wall that fills most of the proscenium. Cut out of the walls are some doorways and arches that the cast enter through, but the real draw is the stark white surface whose every inch is frequently washed over by projections. This projection design, also by Pavey, is as jaw-dropping as it is striking, albeit occasionally over-utilized. (Though if I had a projector system as nice as Augie did, I would also be using it as much as possible.) In addition to projected scenery and effects, we also witness snippets of film, shot in black and white, that feature some rather stunning lighting that add to the show's overall feel.
There was some stiffness and creakiness during Tuesday’s rehearsal, which I totally get, as well as a few mic issues. But was most disappointing, and probably won’t (can’t) be adjusted by opening night, is that the majority of the show is blocked to face only the center section of the Brunner Theatre. My wife and I initially sat on one of the sides near the far edge of the auditorium, and only saw profiles and backs. We soon moved to a less problematic viewing area, but try to sit as close to the center of the theatre as possible – those really are the best seats in the house.
It’s a shame that I’ve already hit my prescribed word count, because I feel like I still have so much more to say about Nine, and so many more people to acknowledge. It’s always nice to see debuting work done in the area – and to see it done so well, with so much enthusiasm, is a rare treat. If you have the chance to attend, you won’t be disappointed.
Nine runs at Augustana College's Brunner Theatre Center (3750 Seventh Avenue, Rock Island IL) through November 19, and more information and tickets are available by calling (309)794-7306 and visiting Augustana.edu/tickets.
