The Masquerade Theatre revolutionized theatre this December. They executed a superlative feat that no other theatre company may ever imitate. The production team brought a play based on the work of Charles Dickens to the stage for the Holiday Season: and that play was not A Christmas Carol.
The Masquerade Theatre then expanded the boundaries of theatrical innovation even more. The artistic team of Megan Knowlton Balne and Tommy Balne along with a team of talented actors thrilled audiences with an unprecedented show to meet the challenges of unprecedented times. Your correspondent witnessed the opening night performance of Great Expectations on Friday, December 11th.
Great Expectations served as a good choice to end the Masquerade Theatre’s inaugural season. The company started 2020 with high aspirations for the upcoming year. Then the COVID-19 pandemic hit. Undaunted, the production team adjusted from planning stage performances to adjusting for an online platform. While a challenging task in itself, none of the team members had experience working in television. They learned how to use the virtual format with Proof. In Constellations, they developed a creative application of lighting. With Great Expectations, they added broadcasting software to their artistic toolkit.
Playwright Gail Childs Daily adapted Dickens’ novel into a troupe show. This fast- paced format required the six actors to play multiple characters; sometimes the entire cast would perform on stage together. For a live performance, Director Megan Knowlton Balne envisioned presenting the show as theatre-in-the-round. Because of COVID-19 restrictions, the production team planned on filming the actors performing together. The next day the City of Philadelphia enacted more stringent regulations that prohibited such gatherings. This required the actors to perform from their homes again.
Tommy Balne explained that the biggest learning curve with Great Expectations concerned the process. “We changed our process so many times,” he said.
Enter the broadcasting software. It allowed the performers to make quick entrances and exits. As Stage Manager/Technical Director, Tommy coordinated these myriad movements beautifully.
Most virtual performances only allow the audience to see the performers from the neck up. Great Expectations showed them from the waist up. This permitted the actors to…well, act. During the talk back session, performers Jake Hufner and Alex Levitt said that this development gave the show the feel of a regular theatrical performance.
Because of the performers playing so many roles, the director used the characters’ attire as a means of aiding the audience in identifying them. Jeanette Balne did extraordinary work on the costume design; even more extraordinary since she never met any of the actors. Megan explained that the performers sent the designer their measurements.
All of the performers’ attire appeared authentic of Victorian England. The garb included: Tony Killian’s cape and tie; Jake Hufner’s cape and top hat; Courtney Bundens’ tie, jacket and suspenders; Allison Korn’s cravat, Beatrice Alona’s Queen Victoriaesqe veil, black dress and pearl necklace, and Alex Levitt’s puffy sleeves and top hat.
Performer Jake Hufner explained that he “Loves troupe shows.” Not performing in the same room with the other performers added “a new layer of difficulty.”
Allison Korn described orchestrating the fight choreography as “super interesting.” In addition to the timing of the punches, they had to be coordinated with respect to which hand the actors used. The amount of practice the cast put into these scenes came through in the finished product.
Tony Killian noted the positive aspect of performing these scenes virtually: “It was fun to take a pounding without taking a physical blow.”
Megan explained that with virtual staging, she employed the cameras to help tell the story. The intricate technology used for the production prevented the actors from seeing the show the same way the audience did. Jake Hufner and Alex Levitt both attributed the performance’s quality to the cast’s strong chemistry. Great Expectations contained some moving scenes that illustrated just how solid that chemistry became.
Courtney Bundens and Alex Levitt delivered heart-warming performances when on screen as Pip and Pip’s guardian Joe. Alex’s facial expressions and tremulous voice captured the character’s affection for Pip. Courtney responded to Alex with the same emotional intensity.
As the spinsterish Miss Havisham, Beatrice Alonna insisted Courtney to profess Pip’s love for Estella. Beatrice’s strong voice and expressive mannerisms drove the scene making it more powerful. Courtney’s timidity provided a stellar contrast.
Courtney showed sincerity when bearing the character’s soul to Estrella played by Allison Korn. In a haughty voice devoid of feeling, Allison announced plans to marry the emotionally numb Bentley Drummle. Alex Levitt played the latter to perfection.
Courtney Bundens displayed Pip’s immaturity as the character pursued “great expectations.” Courtney’s facial expressions and vocal inflections captured Pip’s development along the journey.
Tony Killian delivered an emphatic monolog detailing the convict’s adventures. Tony made his presentation an exciting adventure to watch.
In addition to the engaging voyage of Pip’s bildungsroman, the show contained wonderful humor. During a trip to the theatre, Pip watched a farcical production of Hamlet. The remaining ensemble members participated in the play-within-the-play. Jake Hufner described caricaturing Hamlet as “one of (his) favorite things” about the production. Alex Levitt said that, “there’s no better joy than going against your better instincts (as an actor).” Alex added that this was the show’s one scene where he had to force himself not to laugh.
For Dickens’ Holiday purists, Great Expectations included a reference to the season. As the actor Mr. Wopsle, Jake Hufner wore a Santa Claus hat and performed what Mr. Wopsle would call, a dance.
The other members of the show’s production team included: Assistant Stage Manager Gi Maneri and Lighting Consultant Molly Jo Gifford. In addition to directing, Megan Knowlton Balne also worked on the Sound Design.
Beatrice Alonna complimented the director by saying, “Megan inspires me. It was a gift to work with her.” The cast, crew and production team gifted the audience a creative, innovative and well performed rendition of Great Expectations. For those inspired to see the show for themselves, great. Expectations are that the virtual production will be hosted by the Masquerade Theatre through December 19th.
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