(Ayman Rashid / Courtesy of Center for the Arts)

Thoughtful directing and strong performances deliver new life to this theatrical classic

BY TIMA SAASAA, STAFF WRITER

George Mason School of Theater’s production of “Light Up The Sky,” directed by seniors Adia Spezza and Andy Brown, embodied the energy and humor of Mass Hart’s “Light Up The Sky” without losing any of its original charm.

Hart’s “Light Up The Sky” is a classic backstage comedy in three acts built on the frenzy of a theater company preparing for opening night. Set in the late 1940s, it follows a troupe as they move through anticipation, disappointment and triumph, while poking fun at the quirks and traditions that keep the theater world going. 

The cast embraced the play’s frantic energy from the very beginning. Orson, the star’s pet parrot, drew immediate laughs with a convincingly realistic mimicry, setting a playful tone. 

Irene Livingston, played by sophomore Montgomery Jones, was the star of the show. She embraced the character’s dramatic temper with vanity in a flowing costume and striking emotional reactions. 

Her dynamic with Carleton FitzGerald, played by junior Isaiah Clayton, was charmingly absurd, as his jokes landed with memorable effect. FitzGerald, the emotionally volatile director, commanded the spotlight with a monologue that balanced melodrama and sincerity, grounding his theatrical self-importance. 

Sophomore Jace Courrier’s calm and formal Owen Turner contrasted with the surrounding chaos, particularly in scenes with Nan Lowell, played by sophomore Katie Murchison, whose steady, likable presence helped anchor the cast. 

Their interactions highlighted subtleties in their acting choices; small details, like Owen’s purple tie matching Nan’s pantsuit, created a visual connection that reinforced their onstage chemistry.

Irene’s mother Stella Livingston, played by junior Lake Rusch, brought a sharp, commanding presence. Her resonant voice and precise diction made her dramatic moments shine.

Sophomore Matteo Hope’s Peter Sloan underwent the most significant personality transformation, shifting from a timid, naive playwright to a confident one. His monologues revealed the talent and determination beneath his nerves. 

In Act 2, following the seemingly disastrous premiere, the ensemble fell into mayhem: characters broke alliances and threw tantrums, and props such as balloons added to the comedy of errors. Peter’s frustration with everyone’s criticism, alongside Owen’s patient guidance, highlighted the character’s growth. 

The Blacks delivered both tension and humor to the show. Frances Black, played by junior Katie Hindin, added a playful edge to otherwise dramatic scenes with her cheeky lines and bold personality. Meanwhile, the pretentious producer Sidney Black, played by sophomore Tommy Maxson, created friction with Peter that raised the stakes.

The technical design was thoughtfully executed and the departments worked together seamlessly. The living room set, representing Irene’s suite at the Ritz-Carlton across from the Colonial Theatre, provided ample space for physical comedy.

Lighting highlighted dramatic monologues and comedic timing, while sound and music cues emphasized changes in mood. 

Costumes were carefully designed with Irene’s flowing dresses, Stella’s structured elegance and Owen and Nan’s coordinated outfits, which visually reinforced their personalities and enhanced the overall atmosphere. 

The production balanced frantic energy with calm moments, from detailed directing and technical choices to the chemistry within the cast. The ensemble’s deliberate chaos created a charming, comedic show that captured Hart’s comedy beautifully.