Big Love

NOVA Nightsky Theater

Photo credit: @novanightskytheater on Instagram

50 runaway brides, 50 vengeful brothers, and a whole lot of tomatoes?

Now, that’s amore!

In NOVA Nightsky’s Big Love, directors Jaclyn Robertson and Adam Ressa crafted a production full of punchy feminism, unbridled chaos, and no shortage of Italian charm. Whether they waltzed to a lush melody or executed a violent ambush, this cast certainly kept the audience at the edge of their seats. 

So, how big is love, you might ask? 

Let’s find out!

Big Love

Charles L. Mee, Columbia professor and playwright, created Big Love as a modernization of Aeschylus' Greek drama The Suppliant Maidens. 

Big Love follows 3 women, who--along with their 47 other sisters--have fled from arranged marriages with their cousins. They wash ashore in Sicily, and find themselves staying under the gracious roof of a sympathetic Italian family. Unfortunately, the women soon realize their vicious cousins are following close behind. What results is a chaotic “battle of the sexes,” where characters dissect the roots of the patriarchy, demystify toxic masculinity, challenge the expectations of women, and examine the many different sides of love.

Of course, they also destroy Barbie dolls, have a dance party, and participate in a wild wrestling match. There’s really something for everyone.

Now, let’s break down how NOVA Nightsky put their own spin on this story! (Hint: they took love from “big” to “ginormous”). 

NOVA Nightsky

First, I’d love to give a quick shout-out to NOVA Nightsky as a company!

In addition to Big Love, I had the pleasure of seeing and reviewing NOVA Nightsky’s production of The Hatmaker’s Wife this past fall. Now, having two shows under my belt, I can safely say I’m blown away by the consistent charm and personality of NOVA Nightsky's works. 

Operating in an intimate, 35-seat house, the company specializes in unconventional, small-cast plays that tug at the heartstrings and re-examine universal truths. It’s a type of experience found at no other community theater in NOVA, so it’s definitely worth checking out if you have the chance!

This Production

NOVA Nightsky further adapted Big Love (an adaptation of an adaptation… adaptation-ception?) by setting the story in post-apocalyptic times. Director Jaclyn Robertson altered the script to account for this change, which expertly shone through the remarkably themed set, makeup, and costume design.

Immediately upon entering the basement of the Falls Church Presbyterian Church, Robertson and Ressa’s scenic design delivered the production’s weathered yet charming atmosphere. The stony walls of the villa engulfed the stage, while fairy lights and sprigs of wisteria hung from the ceiling. The set was full of post-apocalyptic furnishings, like an algae-covered water cooler, and housed homey elements like decorative carpets and potted plants.

One of my favorite elements of the set, for example, was a vintage TV—you know, the old boxy ones my generation has basically only seen in movies. Not only did it broadcast a clever pre-show news segment, but it also displayed loads of old black-and-white love scenes throughout the production. At one point, the TV even aided in a playful moment of audience participation! (Don’t worry, I won’t spoil).

Callie Stapleton’s creative costumes and Kinsey Robertson’s bold Hair and Makeup further sold the atmosphere. When the three runaway brides stumbled through translucent curtains and onto the set, they were clad in military green and black. With faces of striking black eyeshadow and lipstick, these women made it clear they weren’t going down without a fight. The three brothers walked in with similar garb, edgy eyeliner and all, providing a stark contrast to the flowy dress and pastels of the Sicilians they were staying with.

Also, I have to give a quick shout-out to Holland Hasle and Lila Halleran: two teen interns from Lake Braddock Secondary School who assisted in everything from Set Construction to Choreography. Three cheers for theatre teens!

Performances

At the crux of Big Love were sisters Thyona, Olympia, and Lydia; portrayed by Melanie Gordon, Maggie Shircliff, and Keely Sullivan den Bergh. Gordon’s portrayal of eldest sister Thyona, the stereotypical “angry feminist,” was skillfully charged with fury; Shircliff as youngest sister Olympia, the naive romantic, was adorably aloof. Sullivan den Bergh’s performance of Lydia, meanwhile, impressively struck a balance between the temperaments of her two sisters, and Sullivan den Bergh did an excellent job showcasing the push-and-pull of her character’s conscience as she fell in love.

The men were no less dynamic; though instead of channeling their anger through barbie dolls, they opted to engage in an all-out brawl.

Some things never change.

With cold gazes, a commanding stature, and a particular affinity for strawberry lollipops, ruthless leader Constantine was chillingly realized by Nate Eagle. James Storen was hilariously eager to please in the role of Oed, while Zach Litwiller’s kind-hearted Nikos opted to abstain from violence in favor of love’s gentler ways.

Back in the villa, a cast of heartwarming characters were all ready to welcome the sisters with open arms. Tristan Poje was the good-natured Piero: oldest son and head of the house, who stopped at nothing to protect his family. His nieces, Emilia and Giuliana, were joyously brought to life by Mackenzie Gaylord and Pilar Bruyere, who made merriment alongside ensemble member Aurora Pasos. Joined by the refreshingly comedic couple of Leo (Mickey Butler) and Eleanor (Suzie Carmack), the villa became the perfect grounds for a wedding… or 3? Or 50? Or NONE? (You’ll have to see!)

I’d like to make a final shoutout to Chuck O’Toole, who played the role of Beppe, father to Piero (a role traditionally known as Bella, but gender-bent for this production). In one of my personal favorite moments of the show, O’Toole cleverly recounted the lives of Beppe’s 13 sons with nothing but an impeccable Italian accent and a bowl of tomatoes.

Never did I think I’d be so entertained by a bowl of fruit, but there I was. Bravo, O’Toole.

Who Is It For?

Big Love is not just for the lovers--in fact, it’s best suited for those who want to question love’s terms, expectations, and the people we owe it to. It's a thought-provoking exploration of family: of sisterhood, brotherhood, and the unspoken contracts that bind us together… which, in some cases, are also the things that drive us apart.

Plus, it’s got some shocking, action-packed sequences bound to leave jaws suspended.

So, if you’re a fan of classic Greek theatre, the post-apocalyptic aesthetic, or Italian charm, Big Love’s got all three.

When it comes to age, I’m inclined to recommend audiencegoers 12 or older. The show has a number of swear words, and one character who gets hilariously creative with positioning during the second act in a moment that won’t go over many heads. Plus, the complex nature of many of the show’s conversations will likely hold more value for older audience members (as in, more enjoyed by teens compared to tweens or younger). I loved the fact that Big Love didn’t shy away from diving into these complex, multi-faceted conversations; in a media-centric world that often pushes one perspective, it was so fascinating to explore and consider an entire array within this production.

Big Love runs for one more weekend at the Falls Church Presbyterian Church, so be sure to grab tickets before it closes!

Visit https://www.novanightskytheater.com/box-office for tickets and more information.