Más grande que el cielo

While discussing this earnestly contrived comedic melodrama that he scripts and in part produces, Michigan playwright Rodney Vaccaro states that the scenario results from a reaction to the "9-11" occurrences, and that his intention here is to create a romantic detailing of events that will provide a storyline antithetical to the violence that marbles our lives, while including his fondness for community based non-professional theatre as apt background for the narrative. Peter Rucker (Marcus Thomas), a graphic designer with a marked personality deficit, is attempting to reconstitute his life after his girl friend has left him, doing so primarily through reading of self-help books, but is additionally attracted by a community theatre near to his place of employment that is advertising its auditions for Edmond Rostand's Cyrano de Bergerac, and since Peter's freshly imposed solitude has resulted in a surfeit of free time during his evenings, he determines to try out for a small part in the classic play. Although totally lacking stage experience, or even middling innate Thespic ability, the play's director has "seen something" in him and Peter is unaccountably selected, not simply as a member of the cast, but as Cyrano, the lead! Another member of the cast, Mike Degan (John Corbett), a very much experienced player, designates himself as Peter's mentor both during and between rehearsals; however, when Rucker begins to dally with Degan's former lover Grace (Amy Smart), the play's Roxanne, partly due to Mike's urging, the latter begins to resent his protégé, weakening their bond, and this, in addition to unforeseen difficulties in mounting the production, must be rectified before the looming opening night performance. Unfortunately, the film itself has troubles as well, and they are but seldom solved. First-time director Al Corley permits the action to meander, with fifth-billed Thomas, fresh-faced but largely unskilled, a less than engaging Peter Rucker who is, near the film's end, abruptly replaced by first-billed Corbett as linchpin of the story, ratified by his ongoing connections with all of the other principals. Although Peter is found to be completely inadequate as the featured performer, he quaintly is called upon to save the production after a newly appointed Cyrano becomes unavailable, an unconvincing gambit for one who, in reality, is only suitable for tech support or as a supernumerary. In spite of these factors that weaken the piece's credibility it, ostensibly shot in Portland, Oregon, provides a pleasing quality of fellowship evidenced within its small community theatre group, and it treats of many standard stage related elements, both technical and non. The film's most striking sequence is a splendidly realised ending that obviously was in the van of Vaccaro's creative impulses here, its preceding scenes for the most part subsequently crafted. Originally named CAUGHT IN THE ACT, the production had to relinquish that title as it had been allocated elsewhere. Although its box office take was low, a genuine affection for theatre is communicated throughout, and there is some rewarding conceptualization within Vaccaro's often literate screenplay, such as when the play's director, played by Clare Higgins, insists upon eschewing the work's customary emphasis upon Cyrano's proboscis in favour of an examination of his marrow. Even though Corbett is given a misguided rant in one scene against the plays of Shakespeare, he handily wins acting honours. Other meritable turns are to be enjoyed from the perfectly cast Higgins and her countryman Allan Corduner, who is given free rein. Patty Duke enjoys herself in a dual role, and Smart, who as an actress is an attractive young blonde, also enjoys herself. In sum, then, this is a blemished but yet pleasing tribute to all community theatre associations that, in words from Rostand, "work without one thought of gain or fame."

My friend and I traveled pretty far out of our way to see this film, mainly because (a) the mainstream films that are being released fairly suck, and (b) she is visiting from Atlanta and misses a lot of indie films we get to see here in L.A.

This film made us laugh, and moved us (if only a little) and is a nice little film to see.

No, the cinematography is no great shakes and I really worried whether the lead actor could actually pull off "animated" or "alive" at any point in the movie - he barely pulled it off (if you close your eyes and wish really hard).

Still, it is nice that a small, sweet film like this can move the audience and make us laugh and think.

John Corbett is great in this (as always), and it's nice to see Sean Astin (a favorite of mine) being less than earnest (he's really an ass in this role).

Worth a look.

This could have been a decent movie, but the lead actor is SO bad. He's surrounded by Patty Duke, John Corbett, Amy Smart, and Sean Astin. Yes, he's supposed to play a character who decides to try his hand at community theatre despite never having acted. But the problem is Marcus Thomas can't act at all. He is painful to watch. At least the other actors make it worthwhile. It's especially fun seeing Patty Duke deliver insults to her real life son Sean Astin's character.

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

"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.