Bigger Than the Sky

"Bigger Piece of Sky" is a sweet little movie about why people do theater, specifically community theater as "let's put on a show"-ism in its purest form. It cheerfully embraces the clichés of theater folk to go beyond them to understand the people within.

Our entrée to their world is a sad sack who makes his way into the local troupe therapeutically to get out of his depressed lonely doldrums after being dumped by his girlfriend. The actor who plays him is a bit problematical, in that he really does seem like an amateur, particularly as he is surrounded by pro's John Corbett, Amy Smart and Sean Astin having a rollicking good time. It does seem like the editing has to create the illusion that he's rising to the occasion for the climax.

I've had a soft spot for Edmund Rostand's "Cyrano de Bergerac" ever since I read it in high school, so I'm sympathetic to how it is used throughout the movie for its symbolism about panache, using another's words to express one own's inarticulate feelings, and the liberation of pretending to be someone else. The theme is also exuberantly updated to role-playing games as another outlet when even the stage isn't enough.

It was refreshing that a character who is ill doesn't seem to have the usual movie star disease but actually shows some effect of the illness. While we only learn about the non-stage life of the central character, so we have no idea what the other participants do in their "real" lives, it is successful at demonstrating the truth behind the song that show people are the best people to know.

While the quote that is the source of the title goes by very quickly, the dialog has cheerful good humor and gentle laughs and the plot turns enough not to be predictable.

The Portland locations are used very well, particularly of an old theater.

It is a cute joke that Patty Duke plays twins, which will lead to baby boomers in the audience humming a certain TV theme song on the way out.

Okay, I was surprised, and surprised. This movie was a bargain basement DVD for me purchased together with a number of formerly unknown titles by moi.

I had zero expectations having only purchased the title based on curiosity of John Corbett's career having seen Joel Zwick's 'Big, Fat' and 'Elvis Has' movies - both of which had an Indies feel, and John Corbett was pretty much John Corbett. He seems to be good at anything and brings confidence to his role and a certain charm that his audience enjoys. The first surprise for me was that the actors and the characters fit the story seamlessly, the plot actually worked, the editing must have worked because I felt a constant flow to the plot from beginning to end. That was nice.

The second surprise was the storyline itself. I don't think this is a spoiler, I'm not going to reveal the plot here but rather the idea, which I liked very much: This story is driven by the word panache (you can look it up) and panache is symbolized and referred to at various points in the storyline - but the story is Cyrano. The cut-and-dried casual first-timer (Marcus) is actually Cyrano metaphorically. The characters played by John and Amy actually are Christian and Roxanne. But, we don't know this as we are introduced to seasoned actors in community theater. We see instead the acting process in brief play-by-plays from introduction to opening night. We are given a hint by the 'director' of this 'stage production' that the nose itself is only a metaphor for the social limits of the man, and finally, we see the courage of the man himself as he leaves his misunderstood cocoon to be a Peter Rucker that he really was inside, just as we are treated to Cyrano's death scene and implied metamorphosis. And, I think that was brilliant.

Full points for the cast, full points for the director, and full points for who ever developed that story!

I really liked and enjoyed this movie - it's one of those very good low key movies like "Noel". Marcus Thomas has been a favorite of mine since "Cowboy Up" (a film that shows off his range a lot better than this), John Corbett is a helluva character actor, and Amy Smart was excellent. Patty Duke was absolutely great - I could go on and on - I really enjoyed Sean Astin, Claire Higgins, and Allan Corduner. I haven't seen too many critics appreciate this film - basically, they all say "it's all been done before". Well, that may be true, but seeing somebody else do what's been done can be entertaining also. I always gage a film by how much I like and pull for the characters - this one hooked me pretty quick.

I saw this film today with my friend, and although neither of us have any experience with community theatre (little of that here in NYC), we found this film to be quite charming and enjoyable. Yeah, sure, it could have used a little editing, but the actors are engaging, the dialog is humorous, and the relationships of the characters, though sometimes a little clichéd, have an underlying authenticity. Community theatre is portrayed not as the graveyard of failed actors, but as a community where talent and friendships are nurtured without regard for money and advancement. And, unlike the first reviewer, I thought the acting was quite good. My friend and I especially enjoyed the twin parts played by Patty Duke, since we're both old enough to remember her dual role on her TV show. See this movie if you're tired of blockbuster, sequels, and star vehicles.

BIGGER THAN THE SKY has the feel of an Indie that was made out of a lot of love and commitment from all concerned. That's a good thing, but at the beginning of this little film the viewer questions whether or not the actors can make the story fly - and if you actually want to take the trip with them. But stick it out because a sound film well made rewards the hesitation. It is a 'little man finds his way' tale that makes good sense and provides good entertainment.

Peter Rooker (Marcus Thomas) is in a depressed slump after his girlfriend has dumped him. He is a 'cellophane man' computer artist, living the solitary life, noticed by no one, longing for a feeling of belonging. The place is Portland, Oregon. Peter notes the posting of auditions for a Portland Community Theater production of 'Cyrano de Bergerac' and slowly decides to attempt a moment of belonging by auditioning for the play: if he could just land a small part at least he'd belong.At the auditions he meets the warmly friendly theatrical group: Michael (John Corbett) who is a fine actor with no sense of future, Grace (Amy Smart) a pretty young sprite and competent trouper, director Edwina (Clare Higgins) who is a true theater person preferring to unmask the real Cyrano rather than hide him behind the infamous nose, sassy costumer Mrs. Keene (Patty Duke), and theater founder and adviser Kippy (Alan Corduner) who has retired from the theater due to his progressive cancer.

To everyone's surprise, especially Peter's, Peter lands the title role of Cyrano while Michael becomes Christian and Grace becomes Roxanne. Edwina's faith in the audition honesty of Peter has bolstered her own commitment to her dreams and she works with the cast to mold this very inexperienced (read lousy) actor into the tough role of Cyrano. Peter finds joy in the camaraderie of the actors, and for the first time in his life he becomes a social person. As the play is rehearsed Peter and Michael and Grace become a misguided trio - Peter does not understand the promiscuous life of the actors - and when Peter loses his job because of his increased involvement in the theater, he is informed that Edwina is forced to replace him with a seasoned actor Ken Zorbell (Sean Astin) at the 13th hour.

As good comedies go there are unexpected turns of events at every level of the remaining time until the opening night and the ending results in the personal growth of each of the actors and company. There are some well-drawn performances from John Corbett, Amy Smart, Clare Higgins, Patty Duke (in two roles), Alan Corduner, and ultimately Marcus Taylor (he is so convincingly an untrained actor at the beginning of the film that the audience will think he is wholly without talent!). Director Al Corley keeps the community theater magic alive and Rodney Patrick Vaccaro's script is sparkled by incidental quotes from Rostand's play. And to sum up the final product of the film in Cyrano's word, it has 'panache'. Not a great film, but a warm little story that examines the lonely lives of people who need the stage of a community theater to find themselves. Grady Harp