At first, Six Dance Lessons in Six Weeks seemed
strictly like a comedy about two misfits; an old woman and a washed up Broadway
star, trying to dance.
But as the characters made their way
through each routine, it became apparent that this play was about much more
than dancing.
Tackling issues such as ageism (the
discrimination of people because of their age), homosexuality, and the fear of
letting down your guard, playwright Richard Alfieri provided a rare glimpse into
the surprises life can throw at you just when you think you have nothing to
live for.
Actors Beverly Brooks and Tom Kobolak did a
very credible job giving life to Lily, a widow of a Baptist minister who is looking
for companionship in her picture perfect Florida
condo, and Michael, a one-time chorus boy forced to teach dance lessons to
seniors to make some cash.
Brooks and Kobolak had their work cut out
for them in the two-person play.
Not only did they have to memorize all of
the lines and learn all six dance routines, but they had to portray characters
completely outside of their age range.
Brooks played a much older woman than she is
in real life, complete with a southern accent, a slight lilt in her walk, and a
crusty personality. Kobolak had a different challenge, playing a much younger
man than he is, complete with the cynicism and the in-your-face,
larger-than-life personality of a man who hasn’t yet grasped the brevity of
life.
The chemistry between the two took a couple
of scenes to really set in. Kobolak seemed to have trouble finding the rhythm
of his character in the beginning (and I don’t mean dance wise) but Brooks was
there, steady as a rock, to calm him down and set the pace of the play.
No romance blossoms in this play, but an
intimate friendship is formed none the less between Lily and Michael, therefore
the connection between Brooks and Kobolak needed to be strong.
There were a few flubbed lines and missed
dance steps here and there, but overall a very strong performance for both
Kanata Theatre veterans.
Director Susan Monaghan did an excellent
job of picking out the subtleties in the script that, as she quotes in her
director’s notes, “uncovered many moments of poignancy and tenderness.”
Her sensitivity to the script’s more
serious moments, especially near the end of the play, were a treat for the
audience who may not have thought they needed to bring Kleenex to a comedy.
The set design was simple, with only one
setting for the duration of the play; but the acute attention to detail did not
go unnoticed.
Lighting stole the show near the end of the
play with some of the most breathtaking sunsets I’ve ever seen produced on
stage. Light became a character of its own in the final scenes and the crew at Kanata Theatre did an
amazing job at bringing it to life.
Overall, Six Dance Lessons in Six Weeks is
a worthwhile play to see.
Whether you are like Lily, in the sunset of
your life, or like Michael, just in the sunrise of figuring it out, the play
has something to offer everyone.
jennifer.burden@metroland.com