25 user 12 critic

Bigger Than the Sky (2005)

A man with a boring personality, job, life, and dumped by girlfriend, auditions at the community theater and gets the lead role as Cyrano despite no acting experience. It changes his life forever.


Al Corley


Rodney Patrick Vaccaro (as Rodney Vaccaro)


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Cast overview, first billed only:
Marcus Thomas ... Peter Rooker / Cyrano
John Corbett ... Michael Degan / Christian
Amy Smart ... Grace Hargrove / Roxanne
Sean Astin ... Ken Zorbell
Clare Higgins ... Edwina Walters
Patty Duke ... Mrs. Keene / Earlene
Allan Corduner ... Kippy Newberg
J.W. Crawford ... Kirk
Victor Morris ... Steve
Brian Urspringer Brian Urspringer ... Scott
Kenny Jones Kenny Jones ... Ted (as Kenneth Jones)
Orianna Milne ... Susan (as Orianna Herrman)
Pam Mahon Pam Mahon ... Julie
Ernie Garrett Ernie Garrett ... Paul Fisher
Matt Salinger ... Mal Gunn


After being dumped by his girlfriend, a man stuck in a deadend life decides to audition for a small role in a local community theatre's production of Cyrano de Bergerac. Despite having no experience as an actor, he lands the lead role, which wreaks havoc upon his life. Written by Anonymous

Plot Summary | Add Synopsis


Life has a role for everyone.


Comedy | Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for some language and sexual references | See all certifications »

Parents Guide:

View content advisory »






Release Date:

18 February 2005 (USA) See more »

Also Known As:

Caught in the Act See more »

Filming Locations:

Portland, Oregon, USA


Box Office


$750,000 (estimated)

Opening Weekend USA:

$12,281, 20 February 2005

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

DTS | Dolby Digital | SDDS



Aspect Ratio:

1.85 : 1
See full technical specs »

Did You Know?


Peter Rooker: Well, why WOULDN'T she leave? I mean look at me! I'm just dull. I have a dull job, a dull car, I never go out, and I have no friends. My girlfriend dumps me - who do I call to come over? My sister!
Peter's Sister: Well, what's wrong with that?
Peter Rooker: You don't pour your heart out to your sister. That's like taking your sister to the prom!
Peter's Sister: I had FUN at your prom!
See more »


Referenced in The Hurt Locker (2008) See more »


Stuck with You
Performed by Kelly Slattery
Written by Kelly Slattery
Courtesy of Monknboo Productions
Published by Kelly Slattery
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User Reviews

Largely Implausible Account Of One Who Chose To Dare.
18 July 2006 | by rsoonsaSee all my reviews

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."

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