Theatre Maxim's Butterflies Are Free at Planet Earth Theatre
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 6/11/99
Corrected for factual error 6/15/99
(out of )Before it opened in 1969, potential producers scoffed at the marketing value of Leonard Gershe's sentimental play, Butterflies are Free, let alone expecting it to be a long-running hit. 1,128 performances later, those same producers were forced to accept that a play about a blind man's attempt at self-reliance was the right material at the right time. Now, nearly thirty years to the day that it opened on Broadway, the fledgling Theatre Maxim has picked this play to be their mission statement, much as In Mixed Company set the tone of their company by choosing Unidentified Human Remains... Co-founders Shana Bousard and Dominik Rebilas have created their company to establish a "back to basics attitude... returning to the basics of theatre: text, actor and audience." While this is a worthy cause, and they've done a great job of concentrating on actor and audience, one has to wonder why they've taken a show that cannot transcend it's late '60s ideals and mores, and used this to establish their company. Despite the flawed and drastically dated text, which Director Joe Bousard has attempted, mostly unsuccessfully, to bring into the '90s, the evening still manages to be a very pleasant theatrical experience containing three impressive performances, solid direction, with a pleasing and often funny sensibility throughout.
The play centers on Don, a talented musician that has left the nest to fly on his own. He seems well-adjusted in his grungy New York City loft, and has a very positive outlook on life, doubly impressive considering he cannot see. Jill Tanner is the flighty next door neighbor from L.A. who smashes her way into Don's loft, bed and heart. Hovering in the wings are Don's overbearing and overprotective mom and Jill's out-there, self-obsessed "visionary" of an Off-off-Broadway director, Ralph. After Jill discovers what a cool guy Don is, and how well he handles his blindness, the two set up a fragile romance that will be tested by mom and Ralph. While the play has elements of soap opera and cutesiness that can sometimes become cloying, and tries too hard to make everyone happy, it still is rather sweet, poignant, and generally funny.
While Mr. Bousard has added a stylized presentation to this piece that keeps it from being too realistic, which is a definite plus, the power performance of this production comes from Mr. Rebilas. Being blind and playing at being blind are two different things, and Mr. Rebilas has done what it takes to avoid playing at. Never overly-dramatic, and never drawing attention to what he is doing, Mr. Rebilas has transformed himself into the rarely self-conscious blind man required from the part of Don. He is wonderfully upbeat and positive, but makes the necessary transitions to fear and self-doubt without missing a beat.
The character of Jill Tanner was originally based on the playwright's next door neighbor, Mia Farrow, and played by Blythe Danner. To that end, Ms. Bousard would ordinarily not be the first choice of actress for this character. However, despite playing against type physically and in spirit, Ms. Bousard does an excellent job of making this character her own. No longer the flighty LA-LA-land blonde with a penchant for six day marriages, Ms. Bousard creates an emotionally unbalanced sweetheart who is too carpe diem to notice her own emotional deficiencies, let alone those of the people around her.
As the Scarsdale-mom-with-apron-strings-of-steel, Laura Durant takes a star turn once more, perfectly balancing the overprotective parts of her character with a wonderfully wry wit and bite that nearly redeems her clutching ways.
The only disappointing performance of the evening comes from Alex Gonzalez as the obnoxious Ralph. While there is a stylized feel to the show, Mr. Gonzalez seems too presentational, telegraphing his emotions from Western Union rather than offering them to the audience. Granted, this is a small role with little to do but be the bad guy, but Mr. Gonzalez does too good a job making him one-note.
The set on the small Planet Earth stage works well, and Scott Campbell's lighting is adequate. A bit better is John Liles' sound design, which is subtle and works well in the midst of the performance.
The formation of Theatre Maxim by the talented duo of Bousard and Rebilas has started off on solid ground. While the choice of material may be considered tame by some, it's always better to take simple steps in building a company and audience base, than to swing wildly and miss. Despite the flaws of this production, if the intention is to highlight the talents of these "co-conspirators," then they're heading in the right direction.
Production Details:
Butterflies are Free by Leonard Gershe
Theatre Maxim
Planet Earth Theatre, Phoenix
(602) 521-6278
June 10 - June 27, 1999