....In CandleDancing a Benedictine priest listens to a troubled choirboy whose passionate stream-of-consciousness writings can be traced to the words of medieval mystic and proto-feminist Julian of Norwich. Apparent miracles are attributed either to the boy, the spirit he's channeling or maybe a higher power; and the young, scholarly priest seeks scientific verification to corroborate the supernatural claim. A tyrannical church hierarchy, however, deviously squelches the boy's teachings and removes the priest from power.

Although it's billed as a "medieval musical", the only thing medieval about the modern drama is the inspiration of the contemporary score and requiem written for "CandleDancing" by London composer Robert Hugill.

Ciongoli-Koepfinger began work on the ambitious project in 1992 and held a staged reading of the work-in-progress last year at The Acting Company. She located Hugill through the Internet and the collaborated on the music for 18 months via e-mail.

"I had two thoughts about the script when I read it," says Hugill, a full-time computer programmer and part-time composer and vocalist, in town this week for the who's world premiere. "It was like nothing I had ever read before. I wasn't sure how it would work as a play, but in the places where she wanted music, I thought it would make brilliant theater. I started having all these visual pictures of how it might go"

The voices in Hugill's head came from a choir that could be gathered to articulate his vision of a new requiem Mass based on chants common in the church during the Middle Ages. Incidental music used throughout the play is culled from the requiem, dramatically performed during an authentic funeral Mass that opens the second act.

Stephen Steinbeiser, music director for Duquesne University's campus ministry oversees the music of "CandleDancing" and ... a 12-member choir of local singers. Gemini Theatre's Denny Martin, a monk in earlier calling, is director.

In Wednesday's preview performance, the ambitious scope of the project and the magnitude of its story ... several inspired performances lit the way for "CandleDancing"

Early in the first Act Cheryl Esposito and G. Michael D'Millo share a brillian a cappella duet as the spirit of Julian of Norwich and the choir boy, Will of God. Montreal's Elias-Christos Varoutsos provides much of the momentum as the passionate young priest, and Ray Schafer and Josie Carey give strong performances as strong-willed church officials.

Pittsburgh Post-Gazette Weekend Magazine, Friday April 16th

'Medieval musical' rewards patience

The equation holds true in nearly every case of artistic expression: The more specialized the topic, the smaller the audience -- or the less appreciated the expression.

"CandleDancing," a new play by Pittsburgher Coni Ciongoli Koepfinger in its premiere at Veronica's Veil Players and Healing Arts Theatre, South Side, is especially specialized. The play demands a dedication verging on devotion. The patience of Job wouldn't hurt, either.

However, for the right audience that is context-ready, "CandleDancing" can be a well-developed, lyrical, important play.

Soon after he's accepted into a church, modern-day orphan child William begins to speak in tongues, or at least in one, the voice of Julian of Norwich, a female medieval anchorite -- readily recognized by the right audience as a 13th-century hermit oracle and mystic. Good Father Peter pleads with the church to recognize the miracle, but, instead, earthly powers conspire to eliminate the boy, thereby obviating the "Will of God."

"CandleDancing" calls itself a "medieval musical," but the score more than the book recalls a sound 600 years old. Robert Hugill's music is enchanting (pun intended).

Koepfinger has a mission here that's clear and sincere. Too often, though, she relies on worn reference (no play should quote Hamlet without some special purpose) or repetition. The playwright's strength is the passion of her dialogue.

Chief among the endearing cast is Elias-Christos Varoutsos, entirely convincing as the heart and head of a revolution against the contradictions of a church founded on miracles but refusing to accept one more.

Ray Schafer, as the cleric sponsor of the conspiracy of denial, persuades primarily with his anger that, when it burns, is fierce. Josie Carey is familiar as a good-natured nun whose experience won't defeat her idealism. Katie Padamonsky provides comic relief, aged and bent but with a smirking squeak in her talk. Joseph Keenan, as a guide of sorts, finely defines the elements of the evening, and Becky Dugan provides visual variety with a stylized dance.

Director Denny Martin either has a light hand or is still working on a final version. Too often the blocking is crowded, the entrances and exits clumsy and predictable.

A work about Christian mysticism is not for everyone. If religion has its place, it's natural for the faithful to try to expand it. "CandleDancing" does.

Pittsburgh Post-Gazette, Thurdsay April 22nd

"Candle Dancing" at the Veronica's Veil Auditorium on the South Side flickers intermittently, dimly exploring what one character calls a "liturgical dialectic." Written by local playwright Connie Ciongli-Koepfinger and accompanied by a new requiem composed by Robert Hugill, it carries the subtitle "A Medieval Musical Drama."

That sobriquet is a bit misleading. There is only one song sung on stage and the action takes place in the 21st century. Offstage, however, a small choir distantly accompanies most of the scenes, soulfully chanting Hugill's music. The music is a lot easier to listen to than the dialogue, which often sounds like theological dribble rather than dramatic conflict.

The story, though often lacking logical connections, has promise. An abandoned child (Will, played by G. Michael D'Emilio) appears mysteriously at an abbey with a bag full of money. Although several of the characters talk about the large sum of money, it's never clear what the money has to do with the main plot. Will becomes a member of Father Peter's boy's choir because he sings so beautifully. Father Peter (Elias-Christos Varoutsos). Father Peter and Mother Mary (Josie Carey) discover that Will's sings beautifully and writes inspired poetry because he is possessed by the spirit of Julian, a minor medieval religious figure.

Julian was apparently ahead of her time, particularly when it comes to gender study and convoluted theology. Who knows why she has decided to possess young Will's body, but she does?

Somehow, the boy is assassinated by Father Gareb (Joseph Keenan) because he is a threat to the Catholic church. At the boy's funeral, which closely follows Catholic rituals, the boy rises out of his coffin, which sits center stage, resurrecting himself for a few minutes before he collapses before the candle that is lighted in honor of Julian. End of Act 1.

Sometime later, who knows when, Father Peter has written some type of dissertation that threatens the authority of the church. There is a trial, and father Peter gives a passionate, nonsensical speech about the need for a "homo novis," a new man. Julian's message, delivered through Will, has inspired Peter (OK, we get the Biblical reference here!) to call for a dialectic that has something to do with peace, gender acceptance and a slew other "noble causes."

The church fathers, who are only slightly more insane than Peter, denounce his dissertation and confine Peter to solitary confinement. From his cloister, Peter directly addresses the audience with a sermon that calls for the development of "homo novis."

The cast goes along with all of this, working hard to motivate cardboard characters. Varoutsos gives earnestness to Peter that makes us understand how someone like Charles Manson was able to attract a following. D'Emilio has a lovely voice that he uses to sing his only song, a static duet sung with Julian (Cheryl Espositio) early in the first act.

Director Denny Martin places chairs in odd positions, forcing several characters to speak upstage during major scenes. Keenan, for instance, faces the upper corner of the stage when he delivers his long monologue about loosing his toes in a river and watching them float away like dancing candles. This important, near-death experience led the character to the ministry. But then again, the experience is so ludicrous, maybe it was just as well that the actor was facing away from the audience.

Some members of the small opening-night audience seemed to react sympathetically to Father Peter's calls for inclusion. But one good thought can't fill up an evening any more than the flame from one candle can light a dark tower of babble. Perhaps the play's subtitle should be "Theobabble."

"Candle Dancing" plays at the Veronica's Veil Auditorium, Prince of Peace Parish, Pius Street, South Side, through Sunday. Performances are at 8 p.m. today-Saturday and 2 p.m. Sunday. Details: (412) 431-5550.

Pittsburgh Tribune-Review, April 22nd 1999

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