Fire and Air
by Terrence McNally
Cheryl Denson Director
Carrie Ruth Trumbo Choreographer
Donna Marquet Scenic Designer
Kyle Harris Lighting Designer
Joshua Nguyen Sound Designer
Suzi Cranford Costume Designer
Jane Quentin Properties Designer
Michael B Moore Hair & Makeup Designer
Elissa Oeschler Stage Manager
Britton Melton Asst Stage Manager
My thoughts on the Regional Premiere of Terrence McNally’s Fire and Air from Uptown Players or …art isn’t easy.
Terrence McNally’s final play Fire and Air is at its core a character study of the Russian ballet impresario Sergei Diaghilev, his innovations to ballet, his relationship with Vaslav Nijinsky. his small circle of friends, and his huge ego.
Viewing this play is like opening an exquisite antique jewelry box. The set by Donna Marquet is framed by gold with a mirror background and beautifully lighted by Kyle Harris. The simple furnishings, mostly chairs, suggest elegance, as do Suzi Cranford’s costumes. The set allows Director Cheryl Denson to produce lovely stage pictures in this episodic tale of love, lust, and ballet.
The play covers the last twenty plus years of Diaghilev’s life. He is fighting an unnamed illness the entire time but is still able to be the master of his ballet troupe, pursue relationships, worry about money, and boy watch. Patrick Bynane is the nervous, self-possessed, and proudly verbose impresario. “I invented the 20th Century,” he proclaims and Bynane makes us believe Diaghilev believes it.
There are five others in McNally’s play who inhabit Diaghilev’s world. The dashing Aaron Cash is Diaghilev’s cousin Dima, who is devoted to and, in this play, has always had a sexual attraction to Diaghilev. Cash makes Dima’s care and compassion for his cousin evident. Marianne Galloway is Diaghilev’s benefactor and friend Misia. Galloway gives Misia just the right touch of aristocratic bearing, charm, and sometimes condescension. She is in her own way just as headstrong as the impresario, and like Dima, devoted to him. However, winning the award for most devoted is Dunya, Diaghilev’s nurse since childhood, played by Lisa Fairchild. Picture a less colorful Mary Poppins with ten times the patience. Fairchild is a delight in the role. Dunya cares deeply for Diaghilev, but she is not above scolding or a bit of sass.
The two men in Diaghilev’s life are Nijinsky and Massine. Dominic Pecikonis is wonderful as Nijinsky. Nijinsky goes for long stretches of the first act without dialogue. He poses and preens and plans his own innovations to the ballet. Pecikonis is never less than fascinating to watch whether talking or not. Nijinsky most certainly hears the almost constant talk of Diaghilev, but he does not often react. He is in his head about being the most famous dancer in the world or is this perhaps a nod to his incipient mental illness? The lithe Danny Vanegas is a striking Massine. Vanegas’ Massine is confident and ambitious and not intimidated and Vanegas makes him an appealing character.
I don’t think there is anyone who thinks that Fire and Air is top tier McNally. There is no real action and not even any real ballet dancing. If you are looking for riveting theater, this is probably not your play. It’s much more cerebral and character centered. The play may not be top tier, but the direction, acting, and design certainly are, and I found it fascinating.
