“33 Variations” tackles some real-life subject material, set to an incredible story that investigates the thoughts of one of the world’s greatest composers. THE CAST of “33 Variations” has some tough material to work with throughout the play — death, intimacy, relationships, trust and obsession — but they convicingly express the struggle of their characters. NONE OF THE drama would be as effective without the help of the play’s musical additions, provided by the ever-so-talented Ted Clous. His piano, set in the middle of the stage, serves as much more then musical background. Clous, who must tackle some of Beethoven’s most complicated works, adds to the story as the audience can hear the exact pieces the characters are discussing on-stage. The combination of timeless music, dramatic twists and turns, along with tough subject material, adds up to a play that should not be missed. The play opens tonight at 7 o’clock and runs through Saturday at the Allen Community College Theater.
The story, originally a Broadway play written by Moises Kaufman, is transferred to the small stage by the Allen Community College theater department. Tony Piazza directs.
Set in three different time periods — 1819, 1823 and present day — the action surrounds musicologist Dr. Katherine Brandt, who is investigating one of Ludwig Van Beethoven’s more peculiar pieces. The scenes of the play quickly fly between the different time periods, sometimes the story unfolds concurrently as well. The process is aided by three large screens as backdrops, that can quickly switch to the following scene in the blink of an eye.
As the story opens, Dr. Brandt’s daughter, Clara Brandt, has just learned her mother has Lou Gehrig’s Disease before the mother departs for Bonn, Germany, to examine Beethoven’s ancient sketches.
“Who knows what state I’ll be in a few months,” Dr. Brandt says to her daughter as they argue whether she should make the long journey.
Clara has an integral part in the drama as well. She has taken a liking to her mother’s nurse, Mike Clark, and must balance the weight of a dying mother with the confusion of young love.
As the drama unfolds between the daughter and mother, so does the drama between Beethoven and his publisher, Anton Diabelli. While turned down at first, Diabelli has convinced Beethoven to contribute a variation on his Diabelli Waltz to a large volume of 50 different variations. Much to Diabelli’s dismay, Beethoven has his own plans for the variations and they begin to take on a life of their own.
“I don’t know why he is behaving this way,” Diabellie says at one point to Beethoven’s assistant, Anton Schindler. “Is this why he took the composition, to mock me?”
As the action of the play moves to Bonn, the drama between all of the characters unfolds. The tension between mother and daughter — Beethoven’s manic behavior with Diabelli — and the renowned composer’s motivation to obsess over a “trifling piece of music” all take root as both Beethoven’s and Brandt’s health take a turn for the worse.
Through her research, along with the help of Dr. Gertrude Ladenburger, Brandt makes some startling revelations about Beethoven’s work — but, not before she makes some revelations about herself, and her daughter who has just joined her in Germany.
Alexis Hosack, as Dr. Brandt, makes the audience feel her pain as she struggles with her terminal illness. But, she also makes them feel her passion as she investigates the composer she has dedicated her life to understanding.
And Emmaline Durand, as Clara Brandt, can portray the frustration of a daughter who is trying to connect with her estranged mother. She and Mike Lowder, as the love interest, shine as two people who struggle to balance their relationship and the weight of Dr. Brandt’s impending death.
One can easily tell Archie Huskey, as Ludwig Van Beethoven, has prepared in-full for his performance. The composer, who borders between madness and genius, is acted to painstaking perfection by Huskey — often evoking a comedic element to his performance, along with the discomfort of a man whose passions border on obsession.
Matthew Wynn, as Anton Diabelli, shows he can handle a tough character whose frustrations aren’t always recognized by the mad composer. He also must deal with Beethoven’s assistant, Anton Schindler, played by Michael De Los Santos. De Los Santos bears a heavy load as the assistant who must appease both his master, and the publisher who is pushing him to release the material.
Kaycee Baise acts as the nurse as well, who must deal with the ailing Dr. Brandt’s realizations about her own health.
‘33 Variations’ is sure to entertain, enthrall
