Bev Steeves can still remember the feeling as she stepped out on to the stage for the first time.
A former student at a performing arts high school, not unlike the one in Fame –– although instead of New York, this one was in her hometown of Sudbury, Ont. –– Steeves knew she was home.
Now a licensed practical nurse by day, Steeves has found a new home on the local stage since moving to Vernon eight years ago, and although she is physically small in stature, her presence has become known to everyone who has seen her in Powerhouse Theatre productions and otherwise.
Most notable of her performances was that of Rizzo, the smart talking gal from Powerhouse’s 2010 production of Grease, where Steeves stepped up to the plate after the original cast member had to drop out.
Admittedly older than her fellow actors in Grease, Steeves applied her abundant energy to the role, and won the hearts of the audience.
Lately, Steeves has applied that same energy to working behind the scenes as director of Powerhouse’s upcoming production of Italian American Reconciliation.
“Powerhouse has brought some creativity to my life. I’ve been let loose, so to speak. This is my safe haven,” said Steeves about her five-year affiliation with the local community theatre.
Steeves started off a set dresser on Oliver in 2007, however, her first time on the stage in Vernon was when she acted in The Sleep Inn (produced by fellow Powerhouse member Mike Poirier’s Back Stage Theatre.) And she has since taken on numerous roles, from playing to type as a nurse in the award-winning Wit to playing Bill Bisher in the pantomime Jack and the Beanstalk.
Italian American Reconciliation is Steeves’ third directing effort, and her first full-length play.
Her first foray in the director’s chair came when she directed former local playwright Greg Simison’s one-act play Lumps for the Powerhouse membership at an annual general meeting. She later directed another one-act during a director’s showcase, again at Powerhouse, but this time it was shown to the general public.
“It was (former Powerhouse board president) Monty Hughes who first approached me about directing, and from there other people approached me to do it again,” said Steeves, adding Powerhouse’s artistic committee presented her with Italian American Reconciliation to direct this season.
“I’ve enjoyed going from playing a character role myself to thinking about all the roles and how they react with each other,” said Steeves. “It’s been a learning experience, which is fine as I am still a baby at this theatre, but everyone has been immensely supportive, especially (co-producer) Val Heuman. Having her on my team is an ace in the hole. She knows how to get things done.”
Written by American playwright/director John Patrick Shanley, who is probably best known for his other Italian-American-based script, Moonstruck, Italian American Reconciliation follows in the footsteps of last year’s sleeper hit at Powerhouse, Lend Me a Tenor.
“When I read this play, I knew right away that it was great and something that I would like to see,” said Steeves about Shanley’s script. “I thought about how it could be funny visually after I first read it, then I went back to it to see how the words were funny, and to get the comedic timing. I love the passion in it, and I’m fortunate to be surrounded by a crew in this play that are just as passionate, and fun.”
Featuring a cast of five, the play follows divorced New Yorker Huey Maxmillian Bonfigliano (played by Powerhouse newcomer Trevor Howitt), who is still stuck on his ex-wife, Janice (Erika Belsheim, recently seen in the Vernon Community Music School Glee Club’s production of Mamma Mia).
The problem is she isn’t all that interested in reconciling.
“He feels he won’t be complete until he gets her back. He wants to reclaim his mojo. Whereas, she doesn’t want to get back with Huey as she never felt he even looked or got to know her. She never felt he understood who she is… He brought her roses, but she wanted something deeper,” said Steeves, adding she has been helping Belsheim find her inner “mean girl” for the role.
Complicating matters further is Huey’s current girlfriend, Theresa (Breanne Volker), who works as a waitress at Pop’s Soup House, and is unaware of Huey’s intentions for a reconciliation with his ex-wife –– at first.
“(Theresa) is an angelic character; more of the good girl next door… I hope the audience feels for her. She’s the person who has everything and everything to lose,” said Steeves.
Also throwing a wrench in the works is Huey’s best friend Aldo (Seaton grad Justin Kopy), who is best described in best New York accent as a “playa.”
“He’s never been married so he doesn’t understand. He claims he has women coming out of his ears, but we find out that women won’t marry him and it’s not because he doesn’t want to marry them. We learn he has a much deeper side,” said Steeves.
More humour comes in the way of secondary character, Theresa’s Aunt May (Wendy Chambers), who is a fountain of knowledge when it comes to giving advice to her niece, but feels her own worth is waning as she ages.
“The characters are very real,” said Steeves. “I hope the audience can relate to them. I’m sure there have been some women and men who have walked away from a situation she or he regrets and can’t have back.”
Set designer Chris Bayne and head of construction Dave Deshane have designed three different locations for the play, including Huey’s apartment, basically a 10-by-10-foot bachelor-style apartment, as well as Pop’s Soup House, where most of all the scenes take place at the counter, and then Janice’s balcony overlooking her backyard, which sets a scene in the manner of Cyrano de Bergerac.
Steeves also gives a special shout-out to stage manager Mitch Morin, who will take over her reins when the play finally makes it to the stage next week.
“He does a fabulous job and goes with the flow. He knows his job so well. I am also thankful to him for finishing my sentences.”
Powerhouse Theatre’s production of Italian American Reconciliation opens Wednesday and runs nightly at 8 p.m. until March 3, except Sunday and Monday. A matinée performance will take place Sunday, Feb. 26 at 2 p.m. Tickets can be purchased at the Ticket Seller box office, 549-7469, www.ticketseller.ca.
