For every world-renowned, classically trained pianist, there are thousands who struggle to reach that pinnacle. Ted Dykstra and Richard Greenblatt, two Canadian pianists who didn't quite reach it have written a chronicle of the power of the music that drew them to the piano, and the endless practice and instruction that goes into reaching the also-ran level of piano artists. While it's a two-person play with a predictable script, the music is the third unlisted character that raises the level of the piece from basic comedy to poignancy. Moving from scales to the "D Minor Concerto Allegro," and from Beethoven to Billy Joel, the music is given the greatest character arc, mirroring the growth of the two musicians from childhood reluctance through teenaged obsession to middle-aged regrets.
Director Bruce K. Sevy, himself a classically trained pianist with 10 years of experience before moving to the theatre, has brought his love of the instrument and its music to this production. The jokes that every musician recognizes, including unending practice, oppressive competition, and oddball teachers, are lovingly reproduced from experience. Teamed with actor/pianists Mark Anders and Carl J. Danielsen, Mr. Sevy ensures that even those such as myself who never studied an instrument can get every inside joke and reference. As a story of the love of an artform, the piece is accessible to all.
It is a challenge to bring together actors of equal level who are proficient at both acting and the piano, but Mr. Sevy has been successful in casting Mr. Anders and Mr. Danielsen. As actors, they play their several characters at a consistently broad level, while they are able to affect the growth of their main characters through stylized movements and attitudes. To assist me with the musical side of the presentation, I was fortunate to speak with Jennifer Carroll, music critic for the Arizona Daily Star in Tucson, who told me that in terms of the script, she was impressed that "the choices of music and their placement in the script follow the rise in level of their education and talent." She also informed me that the actors "had the exact level of musical expertise required for their roles."
The evening is part theatrical presentation, part piano concert, and the design element is apropos for both. Scott Weldin has created a classic piano conservatory of light blue walls, white moldings, parquet floors, and a set of French doors that is stocked with two Steinway grand pianos and an elegant chandelier. While seemingly staid, the set, through Don Darnutzer's mix of conservative and wild lighting, is it's own commentary on the proceedings. Kish Finnegan's costumes are exactly what is needed, while Brian Jerome Peterson's sound design is solid.
There are no textual surprises here, but there is a lot of humor, insight, and love of music. This is an entertaining evening that mixes great music with a touching look at those who wish to honor it.
Production Details:
2 Pianos, 4 Hands by Ted
Dykstra and Richard Greenblatt
Arizona Theatre Company
The Temple of Music and Art, Tucson (For a
map to location, click this
link)
(520) 622-2823
September 14th - 29th, 2001
The Herberger Theatre Center, Phoenix (For a map to location, click this
link)
(602) 256-6995
October 4th - 21st, 2001
Carl J. Danielsen and Mark Anders in 2 Pianos,
4 Hands
Photo: Tim Fuller