“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot. By order of the author.” – Mark Twain
That quote is inside the program for Standing Room Only’s foot-tapping production of Big River, a musical adaptation of Mark Twain’s The Adventures of Huckleberry Finn. What’s funny is the story does have a moral, plot, and a motive, but I guess Mr. Twain would prefer his audience just enjoy what happens rather than try to make sense of it; and enjoyable it is, especially in this Tony award-winning musical adaptation with songs by Roger Miller and book by William Hauptman.
The time is 1844, and the place is the Deep South. It is before the Civil War, and slavery is still legal. Huck Finn fills us in on how he and Tom Sawyer now have money in the bank, and how he is just aching to get out on his own while living with the Widow Douglas and her sister, Miss Watson. Huck’s alcoholic and abusive father smells money and takes back custody of Huck. It isn’t long before Huck takes matters into his own hands, starting off on a series of adventures with Jim, a runaway slave, and encountering a team of con men (a “King” and a “Duke”) that get them into nothing but trouble. Through it all, Huck grows as a person and works to find a way back home while keeping Jim from being enslaved again.
Caleb Baker is a curious choice as Huck Finn; he appears to be easily twice the age of the character he is playing, and he underplays his part to a large extent. In some ways, this works just fine because there are many supporting actors who more than make their mark in the berth his performance leaves open. This relaxed approach to Huck also makes Mr. Baker’s strong renditions of “Worlds Apart” and “River in the Rain” (both duets with the sublime Brandon Buchanan) feel all the more significant when his voice and manner rise to the occasion of the moment.
Standouts in the supporting cast are the aforementioned Brandon Buchanan as Jim, the slave, bringing dignity and sweetness to a tricky part; Thor Collard playing a variety of slimy characters from Pap Finn to Silas with delicious aggression; Ryan Kopycinski as Ben Rogers and a part of the ensemble, comfortably as backwoods-ish as possible; Nyla Nyamweya as the daughter of a slave named Alice, performing an electrifying solo of “How Blest We Are”; and John Feather as the con man King and Judge Thatcher.
Dee Shepherd directs this show efficiently, maintaining a steady sprint that could easily be held back by large sets and too many props. Ms. Shepherd allows her actors to spread out and tell the story largely on their own with some well-placed sound effects, some interesting lighting choices (a raft that figures largely in the play has its perimeter defined by the lighting), and a truly excellent small band lead by music director Chipper Snow. The bluegrass-themed score by Roger Miller is adeptly performed with Jordan Shear on the violin, Ted Reich on the harmonica, Robert W. Loar on percussion and bass, and Josh Dillingham on guitar; each of these talented men earn a shout out. The Van Fleet Theatre can be tricky sound wise, but this is one production where the singing can be heard perfectly (save for two performers who shall go unnamed) even with the band playing off to the right.
Big River is more enjoyable in this small production by Standing Room Only than I remember from seeing the 2003 Broadway revival. It’s still an episodic show with perhaps one vignette too many, but this Big River is also surprisingly rousing in its crowd scenes, and I found myself humming songs that had not caught my attention from seeing the show previously. Even though Mr. Twain said there was no moral in this story, I beg to differ; seeing Huck Finn’s growth from seeing Jim as just a slave to a fully rounded person with the ability to feel and care “just like a white person” is still unfortunately relevant. We’ve come a long way socially, but these stories that illustrate the way it was less than two hundred years ago in this country are still very important to tell, especially as long as a malaise of inequality still hangs over this great country of ours. Go see Standing Room Only’s Big River for the music and the fun, but leave with the message.
*** 1/4 out of ****
Big River continues through to May 7th in the Van Fleet Theatre within the Columbus Performing Arts Center at 549 Franklin Avenue, and more information can be found at http://www.srotheatre.org/big-river1.html
In lieu of a full review, I offer up this promotional video I produced for the production. Though the full title is Sweeney Todd The Demon Barber of Fleet Street, Standing Room Only [SRO] is promoting it just as Sweeney Todd.
Sweeney Todd continues through to April 10th in the Van Fleet Theatre within the Columbus Performing Arts Center at 549 Franklin Avenue, and more information can be found at http://www.srotheatre.org
“You just never know about anyone else’s marriage, including your own.” I remember hearing this quote attributed to Nora Ephron on “The View” years ago, though for the life of me I can’t confirm it now; heck, I’ve probably badly paraphrased it. Still, the sentiment of that statement stayed with me, and it comes to mind now after seeing Standing Room Only’s solid production of Who’s Afraid of Virginia Woolf?, the 1962 Edward Albee play about the games a married couple play with (and on) each other that are misunderstood by their young guests in the wee hours of a Sunday morning after a party.
Gail Griffith is Martha, the loud and brash daughter of the head of the college at which her husband teaches. She laughs and drinks and curses a lot, and Ms. Griffith is up to the challenge. It can’t be easy to be so thoroughly difficult, so caustic and in-your-face, but you wouldn’t know it to see how Ms. Griffith performs in the role. Her Martha isn’t all harridan as the part is often played, but she’s far from sweet also; there is a deep pain at the heart of her Martha, and her acting out is her way of dealing with it.
Greg Hoffman is Martha’s husband, George, playing him alternately as submissive and then sneakily dominant. He is an associate professor in the history department, often finding himself the butt of Martha’s one-liners as he dotes on her. Mr. Hoffman is fine in the part though he sometimes speeds through his lines quickly during the most intense scenes, which perhaps contributed to a happy accident at the performance I attended. There is a scene in act one where George and Nick are alone and asking each other questions. “How many kids do you have?” asked Nick, to which Mr. Hoffman said, “That’s for you to know and me to find out.” The correct line is, “That’s for me to know and you to find out,” but the pronoun slip-up during a scene all about how George is finding out information about Nick’s life to use against him is quite telling and clever. Mr. Hoffman owned the altered line and marched on with confidence; it may not be what Albee wrote, but it fit with the intention of the moment.
Anthony Guerrini plays Nick, the studly new professor in the biology department, and Amy Rittburger is his giggly wife, Honey. They have the misfortune of arriving at George and Martha’s home and becoming a part of their vicious interactions. Mr. Guerrini comes off as uneasy, which works for the part in some ways, eventually relaxing into it during the second act. Nick isn’t a particularly likable character, and it feels like maybe Mr. Guerrini is tentative in showing that, like he is afraid to not be liked on stage. Ms. Rittberger has the least to do in the underwritten part of Honey, but she’s great at reacting to what is going on around her. There were many times during the performance when I would glance back at her and to see how she was right there in the moment, listening and present even if she had nothing to say. Though Honey’s breakdown in the third act is played more like she is suffering from physical pain (Ms. Rittberger grabs her stomach and rocks on her knees) rather than the pain of embarrassment and betrayal (which is the reason for her outburst), Ms. Rittberger makes an impact in a part lesser actresses might sleep through.
Andrew Weibel’s set for George and Martha’s living room looks and feels just right, vintage turntable console, drab artwork, stained walls, and worn chairs and couch blending right in. It’s easy to suspend disbelief and become involved in the play with such an accurate, lived-in backdrop. As a fan of the 1966 Academy Award-winning Mike Nichols film and having listened many times to the original Broadway cast recording (it was one of the rare plays recorded in its entirety for LP), I was surprised and delighted to discover so many more moments in this edition of Who’s Afraid of Virginia Woolf?, this being a version which Mr. Albee has revised and expanded over the years. The language is more coarse than what they could probably get away with on stage or in film back in the ’60s, but it doesn’t come off as gratuitous; I believe this is just how these inebriated characters would talk to each other, four-letter words and all.
Don’t bother trying to figure out the title Who’s Afraid of Virginia Woolf? as it is a punchline to a joke we didn’t hear which was said at the party earlier in the night that apparently was quite amusing to middle-aged couple, George and Martha, as well as their young guests, Nick and Honey. When the title is sung it isn’t funny to us in the audience because we don’t know the joke or its context, the same conundrum faced by Nick and Honey as they see Martha and George argue, attack, and degrade each other. It’s like Martha and George have their own inside joke for which we only see the punchline in the form of barbs and pain.
Edward Albee’s Who’s Afraid of Virginia Woolf? is a modern classic, and this production has a lot going for it. With three acts and two intermissions, it can seem like quite a daunting way to spend three hours, but it ends up being anything but; there is a lot to take in, and it all flows extremely well. While the film adaptation is terrific, it isn’t the final word on this piece; Standing Room Only brings electricity to Mr. Albee’s prose with intensity and a pretty good cast willing to go the distance.
*** out of ****
Who’s Afraid of Virginia Woolf? continues through to February 7th in the Shedd Theatre within the Columbus Performing Arts Center at 549 Franklin Avenue, and more information can be found at http://www.srotheatre.org
I’ve been asked by a few people to compile my picks for the best central Ohio theatre in and around Columbus in 2015, and so that’s just what I’ve done. I didn’t start writing about and trying to see as much local theatre as possible until June, so there are some reportedly very good productions that I unfortunately didn’t get to see. This list is based on what I saw for the second half of 2015 with one exception – Short North Stage’s Psycho Beach Party from January 2015. I didn’t write a review for it, but the fun I had at that production is still vivid in my mind year later.
For a thorough rundown of my thoughts on each show, I have linked my reviews to open by clicking on the title of each play.
It’s a tricky thing to take as established a classic as Robert Louis Stevenson’s 1886 novella Strange Case of Dr. Jekyll and Mr. Hyde, deconstruct it, and rebuild it into something both familiar and new; this is what Jeffrey Hatcher has done with Dr. Jekyll and Mr. Hyde, his 2008 adaptation that shifts the focus onto Mr. Edward Hyde as one who is perhaps not entirely evil and Dr. Henry Jekyll who isn’t perhaps all good either. The idea of Jekyll and Hyde with split personalities is a firm part of popular culture, spoofed in Bugs Bunny cartoons and sitcoms to even being the basis for a Broadway musical; Hatcher knows there is no surprise left there, but there certainly is in this version by way of reframing the plot to see it from a different angle. It is this creative reworking of the classic that opens Standing Room Only’s 31st season in an eerily effective production, arriving just in time for Halloween.
Everyone in this small cast of six deserves recognition. Joe Dallacqua plays Dr. Henry Jekyll with suave confidence, cutting a frame not unlike a young Richard Gere; Erica Beimesche plays Elizabeth with fresh-faced naïveté, the typical youth attracted to the bad boy in the form of Mr. Hyde; James Harper is intense and frightening as one of many faces of Edward Hyde, but he’s also effective as the nefarious Dr. Carew; Jordan Estose enjoys playing the fop as Lanyon, but he also gets in on the action as a violent Hyde as well; Catherine Cryan plays the dutiful servant Poole and her other roles with efficiency as well as an unlikely (but fierce) face of Hyde, one scene involving a transformation being particularly physical and impressive; last but not least is Ken Erney as Utterson and a few other roles, serving to help propel the story forward with dignity and stately grace.
Director Patrick McGregor II stages the action all around the audience; this is an environmental production, so the audience is seated on small bleachers all around the main performance space, one of the reasons for the limited seating. When artistic director Dee Shepherd warned everyone to stay in their seats and within a designated area during her introductory speech before the performance, she wasn’t kidding; the actors, props, and set pieces are sometimes just inches away from audience members. Some may find that intrusive, but those people are probably in the minority and wouldn’t have come to such a production anyway. My friend and I were thrilled to feel like we were right there in the middle of the action, and the people across and to the sides of us seemed to agree, their gasps loudly audible as actors would suddenly appear behind them or a violent murder would be enacted within arm’s length. Hyde’s slithery voice can often be heard from several directions at once, not by the use of some fancy sound engineering but because the character is played by many people; there are times when they speak the same lines, a terribly creepy effect when a voice suddenly pops out from behind you from an actor you didn’t know was there.
Dr. Jekyll and Mr. Hyde is the rare reimagining of a classic that complements the original rather than seeking to replace or upstage it. The basic concept of separating good from evil and the struggle in the body of one man is still there, but the characterizations and situations all around are modified to tell a different version of this story. Standing Room Only’s production is the kind of show that can help engage an audience with preconceived notions about the static nature of some theatre while also offering something fresh to even the most jaded theatregoer. The decision to have such limited seating may not be the most sound financial decision but it pays off in spades for the privileged few audience members that will catch this production before it’s gone.
It’s a little embarrassing to admit that Standing Room Only’s The Fantasticks is the first time I’ve seen the show. Every musical theatre fan worth their salt has seen many different productions, right? I’ve had the 1960 original off-Broadway cast album for a long time, and many of the songs I know well because of cover versions performed by Barbra Streisand and Robert Goulet, and I did see the terribly misguided and unfortunate film version. Perhaps it’s fitting that my first time seeing this classic is in this quite adorable, well-sung production playing at the Shedd Theatre within the Columbus Performing Arts Center on Franklin, where most of my most enjoyable local theatre experiences have occurred over the past two years.
The Fantasticks has a classic score with music by Harvey Schmidt and book and lyrics by Tom Jones (not the Vegas performer), and it ran continuously for over forty years off-Broadway while also being licensed for production all over the world. It is about two young neighbors named Luisa (Sharon Kibe) and Matt (Lake Wilburn) and the efforts of their respective fathers Bellomy (Scott Wilson) and Hucklebee (Ron Nocks) to make them a couple. The fathers pretend to hate each other in the hope that their children will rebel and fall for each other. They enlist El Gallo (Chris Rusen) to help them stage an abduction to bring the youngsters together, though they were already smitten and needed no assistance. The deception is unveiled, the lovebirds part, but everything turns out in the end. The plot isn’t going to keep anyone on the edge of their seat, but it doesn’t need to – the joy is seeing the show play out simply and engagingly, and Steve Black’s direction does just that.
The Fantasticks is designed to be performed on a minimal set with practical curtains and effects, which is the case here, but this production also has more sophisticated lighting cues and clearer sound than I expected. Aside from some loud but brief distortion (it sounded like a mic was live on a cast member while they were going through a costume change or an arm was brushing up against a body mic), the sound was remarkably clear and well modulated. The lovely piano accompaniment by Aaron Dvorak didn’t overpower the performers nor did they overpower it, a difficult balance to maintain I’m sure. There was a strange anomaly where Lake, whenever he faced away from the audience and towards Sharon, sounded like his voice was coming exclusively from a speaker on the far left. It was unintentionally funny when during “Metaphor” his voice would shift from coming from the center to far left to center to far left and back again as his head turned out towards and then away from the audience. Still, he sounded quite clear.
Though I saw the first performance, everyone appeared on pointe and ready to play, aside from a few negligible slip ups by fifty-year stage vet Ron Nocks (Hucklebee), who gets a pass considering how affable he comes across in a rather age-inappropriate role. As his son Matt, Lake Wilburn is startlingly good; handsome, appealing, bold-voiced without suffering from American Idol-itis, and the very definition of boy next door, which he is in this play. Sharon Kibe plays Luisa as more coquette than feline though the script would allow for more of the latter. She doesn’t appear to need to breathe much to be able to race in preparation to move from chest to head voice, and there were times I thought she sounded more Christine Daae than a simple farm girl, but she still was present and in the moment. Someone needs to dial her down from an 11 to a 7 or 8 though as she often opens her eyes so wide that they cross. Less is more, Sharon, so being young and cute while having Lake to play against can do some of the work for you. Scott Wilson as her father makes me mourn the performance I missed of him as the governor in The Best Little Whorehouse in Texas several years back. He is jolly with a pleasing timbre to his voice, but he is skilled in reigning it in during his duets with Ron Nocks so that they both can be heard. Chris Rusen as El Gallo reminded me of Puss ‘n Boots, but that isn’t a bad thing. His gaze is strong and focused, and he has the looks and manner to be just as appealing but in a wholly different way than Lake. Sharon is a lucky girl, so maybe that’s why she comes off as a tad over excited. They all sing well, and isn’t that the most important thing anyway?
I was shocked to read in the program that Henry, one of El Gallo’s sidekicks, is Sileye Ndongo, a high school senior! Sure, he’s playing the part of an old man and he has a lot of affectation and stage presence, but a high school senior? Lake is also a senior, but he is playing someone around the same age. Sileye dives into near senility and wiriness fearlessly, playing someone easily more than thrice his age. Wow – his scenes with fellow sidekick David Johnson (Mortimer) are laugh out loud funny. Special attention should also be paid to Alex Lanier as The Mute, who gets the first laugh in the show and starts off the evening before settling into the scenery. I liked looking at her face from time to time as she watched her cast mates perform, seeming to enjoy the show as much as the audience while still staying in character, with only her eyes going her away. It can’t be an easy part, but Alex made her mark in it.
Director Steve Black keeps the show moving, and though his bio lists his long history with the show his direction never comes off as rote or just functional. I found myself a bit startled when it ended as I was in the wonderful position of wanting more because of how sweet and delightful the performance had been. It wasn’t perfect, but it wouldn’t have been half as enjoyable if it was. It’s a very good presentation of a classic and feels fresh.