(out of 
)As the large cast of Nearly Naked Theatre's Lilies; or The Revival of a Romantic Drama took their bows, and some of the audience rose to give them a standing ovation, I was reminded of Mark Twain. Mr. Twain, a diehard realist, wrote a very funny essay entitled The Literary Offenses of James Fenimore Cooper. Rather than pointing out that Cooper was a bad writer, a basically untrue statement, this essay came to show the differences between realists, who insist on such things as consistency, clarity, and believability, and romantics, who know that the heart is above such triflings. As a critic, I tend to side more with Mr. Twain, but the theatre lover in me feels for Mr. Cooper. Thus was the difficulty I encountered while watching director Damon Dering's offering. I was touched by moments of this production (exclusively during the second act), even as my internal Twain bristled at the literary offenses author, director and performers committed.
Lilies is a memory play about the rise and fall of a forbidden relationship in a small town in northern Quebec at the turn of the century. Told in a prison rectory 40 years later, a Bishop must confront the homosexual couple that he loathed, and was jealous of, as the wrongly jailed object of his affection brings together his homosexual prison-mates to present the truth. Cooper would have called it soulful, while Twain, silly. Believability is secondary to emotional power, and it is subsequently not everyone's cup of hemlock.
Mr. Dering should be commended on his choice of material, as it has definitively set the tone for his fledgling company. Few theatres would touch this source material, and it's good that someone in this sleepy burg is willing to take the risk. The only real problem, though, is the sense of gravity he has brought to the piece. The text is unbalanced, spending all of the first act in setting up, not giving any type of engrossing action until just before intermission. The actors buy into the gravity, skirting melodrama and avoiding the humor of the first act until the conflict explodes in the second, allowing the audience to be engaged.
This is a true ensemble effort. This is a group that is committed to the work, and their love shows. Michael Sherwin is intense as the lovely Simon, who writhes through his fear of homosexuality until his wholehearted, onstage embrace in the second act. As the blue-blooded object of his love, Vallier, Blake Sereno is nobility personified, striking the balance between cultured and sissified that could be the traps of this character. Mr. Dering's turn as Vallier's mad mother, Countess de Tilly, is a knowing drag creation that transcends and deepens throughout the evening. As the conflicted Jean, Michael Peck plays his pettiness well, and as the female interloper into Simon and Vallier's love, Tim Butterfield is catty and haughty without compromising his character's stern and controlling femininity. While some of the rest of the ensemble are weaker of voice or performance, not one of them falters significantly.
Tim Handeyside's scenic design is ingenious, though it can't help but seem too impressive for the initial setting. Chad Otto's lighting is weaker, capturing the mood, but filled with holes that leaves scenes played in shadow. Better are Angee Lewandowski's interesting costumes, and Mr. Dering and Alicia Marie Sanderson's sound design.
Perhaps with a more carefree approach to the first act, the show wouldn't drag so before picking up speed. Even with Twain sitting on my shoulder, belittling my saying so, the final passion of the show is worth the effort it takes to arrive. If nothing else, to take a difficult production with a large cast requirement and make it work is a compliment to the freshman company, and Mr. Dering's vision.
Production Details:
Lilies; or The Revival of a Romantic Drama by Michel Marc Bouchard, translated by Linda
Gaboriau
Nearly Naked Theatre
The Helen K. Mason Center for the Performing Arts, Phoenix
(602) 274-2432
May 4th - 27th, 2000