The Fantasticks at Light Opera Works. Review originally published in Clef Notes Journal.
The Fantasticks may hold the record for the world's longest-running musical, but Light Opera Works' luscious production looks and sounds as fresh as ever. With a 23-piece orchestra—the largest in the show's 56-year history—The Fantasticks is everything good theatre should be: though-provoking, beautiful, and memorable.
Though productions of this well-loved musical are traditionally on the smaller side (the original production was in a tiny black box theatre and the orchestra consisted of only a piano and a harp), Light Opera Works pulls out all the stops. Performances are being held at Northwestern University's Cahn Auditorium—not a huge venue but a space that's significantly larger than the cozy theatres that hosted the original and revival productions in New York. Book writer and lyricist Tom Jones has given his blessing to the expansion calling Cahn Auditorium “a perfect space for elaborate scenic staging, while still relying on the imagination of the audience.” And that is exactly what the production does.
Scenic designer Adam Veness fills the stage with gorgeous sets. Traditionalists may argue that The Fantasticks requires virtually no scenery, and they'd be correct. However, Veness' choices are spot on—simple and effective touches that don't muck things up by getting too fancy. Clever uses of fabric and some terrific collaborations with lighting designer Andrew H. Meyers on practical lighting effects are just enough to bring out the inherent loveliness of the story.
Director Rudy Hogenmiller finds other delightful ways to expand the staging without overdoing it. Of particular importance to the production's fresh take is the role of The Mute. Always a memorable part, The Mute is essential to the success of the little extras contained in this bigger and better version, and Clayton Cross is just the right person to bring the silent character roaring to life. A gorgeous and gifted dancer, Cross makes the scene changes look like tiny ballets, and he is quite possibly the most talented confetti tosser ever. (Side note—God bless the running crew for sweeping up the copious amounts of confetti and snow that are scattered across the stage throughout the production!)
While The Mute has some of the most visually memorable moments in The Fantasticks, a silent character can't exactly carry a musical. Fortunately, the rest of the actors are also superior. James Anest is a confident and compelling El Gallo; Rick Rapp and Kirk Swenk are adorable and hilarious as the two scheming fathers (sort of like Jonathan Winters and Jack Benny as a comedy team); James Harmes was born to play Henry the aging actor; and Brian Rooney is a hoot as Mortimer. Meredith Kochan and Christopher MacGregor occasionally err on the side of brattiness as the young neighbors in love, but they manage to make up for a slight lack of honesty with their powerful voices and energy. All in all, the cast is strong and cohesive, and they are a delight to watch.
Though The Fantasticks definitely feels like a product of the 1960s, Light Opera Works' production doesn't feel at all dated. Instead, its beloved songs like “Try to Remember” and “Think It's Gonna Rain” feel like vintage gems that have been polished up for new audiences to discover and for longtime fans to fall in love with once more. The Fantasticks has been part of the American musical canon for nearly 60 years, but it'll be at Light Opera Works just until June 14. Don't miss it!
Henry V at Chicago Shakespeare Theater. Originally published in Clef Notes Journal.
A real-life game of thrones is front and center in Chicago Shakespeare Theater's Henry V, and CST's intimate Courtyard Theatre puts audiences right on the battlefield for all of the action. Passion, war, and plenty of leather are all part of the fun, and one of Shakespeare's most popular histories feels exciting, fresh, and as relevant as ever.
Henry V picks up where Henry IV leaves off, telling the tale of young, inexperienced Prince Hal (now King Henry) and his rise to power and glory at the battle of Agincourt. The stakes are high—life and death—and Harry Judge is incredibly solid in his portrayal of Henry and his drive to create a legacy for himself and for his country.
Though Henry's larger story is at the center of the play, it's the frame upon which Shakespeare builds lots of other characters who are all vying to steal the show, and CST's company of capable actors does a fine job of tackling that challenge and injecting humor and humanity into the production. Of note are Greg Vinkler, Bret Tuomi, and Larry Neumann, Jr. as Pistol, Bardolph, and Nym respectively. Their trio of bumbling soldiers is part Marx Brothers, part Three Stooges, and all fun. Likewise, James Newcomb's comic timing and honesty are the perfect combination for Captain Fluellen, and he has the audience in the palm of his hand every time he appears.
Though he's onstage for only a short while, one of Henry V's loveliest performances comes from young Kevin Quinn in his CST debut as The Boy. He's sincere, funny, and nuanced. While Quinn's stage time is brief, he makes a lasting impression.
The acting is strong, but Henry V is not short on spectacle. The costumes are stunning—lots of leather armor and a simple color pallet keep this grand epic grounded while helping to tell the story. The scenery is deceptively spare. One large, monolithic wall functions beautifully as castle and battleground. Plus, director Christopher Luscombe cleverly uses entire theatre—aisle, audience, and stage—to create the environment and draw us right into the thick of things.
A big, important history play like Henry V wouldn't be complete without some spectacular battle scenes, and this production does a pretty good job in that department. The major fight in this play is The Battle of Agincourt, and all of the collaborators bring their A games. Violence design, lighting, sound, and direction come together seamlessly in the climactic scene making it incredibly exciting to be a part of. Less cohesive and therefore less riveting is the Siege of Harfleur's famous “Once more unto the breach, dear friends” speech. Individually, the actors and technical elements are fine, building to that well-known line from King Henry, but the energy dips right before that important moment leaving us feeling a bit deflated. Regardless, the action on the whole was thrilling especially in CST's thrust configuration with the audience circling around the battle.
Henry V has a storied history at Chicago Shakespeare Theatre—it was the first play they every produced. Nearly 30 years later, it continues to serve CST well in a production that is sure to be remembered as fondly as their inaugural triumph.