Musical Version of Jane Austen's "PERSUASION" at Taproot Theatre — A Review

Life rarely offers us second chances, but now you have one if you have not yet seen Taproot Theatre's production of Persuasion. In fact, this musical adaptation of Jane Austen's novel by the same name is about second chances, and much more. It is at Taproot's Jewell Mainstage Theatre, in Seattle, through August 26, 2017. Thanks to positive audience response, it has been extended with extra performance times. Don't miss the opportunity.

Cayman Ilika & Matthew Posner in Persuasion at Taproot Theatre. Photo by Erik Stuhaug.

Harold Taw wrote the book, and Chris Jeffries the music and lyrics. Together, they have given a new life to an old tale. It takes place during the Regency era in England, roughly from the late 18th century through the first two decades of the 19th century. Just as today, we see a society with its own "1%" versus "99%" imbalance. We step into the world of a titled English family desperately clinging to its phony, snobbish, aristocratic lifestyle, a family that refuses to quit spending lavishly or putting on airs, even though the money is basically gone. The protagonist, Anne Elliot (Cayman Ilika), is the only family member with common sense, genuine compassion, and humility. 
  

Matthew Posner, Sophia Franzella, Ryan Childers, Chelsea LeValley, Cayman Ilika & Randy Scholz in Persuasion at Taproot Theatre. Photo by Erik Stuhaug.

Apparently doomed to spinsterhood, and with liberal views concerning women and the worth of those in the lower classes, she is almost an embarrassment to her father, Sir Walter Elliot (Nick DeSantis). Her mother died previously. One sister, Mary Musgrove (Kate Jaeger) is married. The other one, Elizabeth Elliot (Chelsea LeValley), is the father's favorite, looking for a rich husband who will indulge her as he has. 

Anne Elliot would have been married, had she not rejected the love of her life, a member of the British navy, after being persuaded to end the match based on their class differences. Her status-conscious godmother, Lady Russell (Caitlin Frances) did most of the persuading. At the beginning of the musical, we learn this lost love has returned, eight years after being jilted. Now, known as Captain Wentworth (Matthew Posner), he returns a hero of the Napoleonic Wars. This was at a time in English society when changing views allowed for accomplishment, rather than merely inherited wealth, to be considered a path to full acceptance as a gentleman. 

Nick DeSantis, Cayman Ilika & Matthew Posner in Persuasion at Taproot Theatre. Photo by Erik Stuhaug.

Anne Elliot's emotional struggles over her regrets, the feelings she still has for him, and the idea of a woman exerting her own will against the forces imposed on her by family and society, form the basis of the story. Will they reunite, or not? The lasting pain of of their shared past and the love each still feels provide a poignancy the fine acting and expressive voices of Ilika and Posner make relatable and deeply moving. Director Karen Lund has nurtured another winner.

The hope of having a second chance, and then the question of whether or not to make the most of that chance when it is offered, is a facet of human experience as relevant today as 200 years ago. Austen completed this novel, her last, in 1816, then died in 1817. It was published posthumously in 1818. She knew, first hand, about the barriers between the social classes and the rigid restrictions on women's choices. Born into a genteel but impoverished family, Austen's only hope of a better life was through marriage. Yet, she was not considered a suitable bride for the young man she loved, whose family persuaded him to marry for money instead. 

Caitlin Frances, Nick DeSantis & Matthew Posner in Persuasion at Taproot Theatre. Photo by Erik Stuhaug.

The novel's cast of characters are not all actually seen in this musical, and the audience must accept the fact that some actors play multiple characters who physically resembled each other perhaps a bit too much. But this did not really detract. All actors gave excellent performances! Lovely costumes by Sarah Burch Gordon and authentic dancing, choreographed by Katy Tabb, helped create the feel of the era. So did the work of Dialect Coach Ben Wippel.

The novel's rather complicated plot has been simplified here, but some knowledge of that source would help in understanding who is being referred to and what is happening. Another difference is that, in the musical, the character of Anne Elliot is more impassioned about the rights of women. She leaves little doubt about her progressive feminist views, whereas in the novel, she seems to have less of a sense of victimization and more tolerance for the idea of maintaining social order, even at the expense of personal freedom. In both the book and musical, Anne upholds the ideal of a marriage in which partners are equal.

Cayman Ilika, Sophia Franzella, Caitlin Frances, Chelsea LeValley & Kate Jaeger in Persuasion at Taproot Theatre. Photo by Erik Stuhaug.

The musical Persuasion was created in 2015 during the 5th Avenue Theatre's intense month-long event called NextFest: A Festival of New Musicals. Then, in 2016, it underwent refinement at the Texas Musical Theatre Workshop. The results will impress you. At first, the idea of a Jane Austen novel as a musical seemed strange, but I loved every minute. The music was so pleasing, and the lyrics expressed complex emotions and situations in a way that felt natural. I could hear every word clearly, with perfect volume. This production offers a delightful blend of serious social commentary, romantic tension, good humor, memorable characters, and the suspense of not knowing for sure what decisions those characters will make. With all of that, it added up to a most engaging performance. I highly recommend it. If you allow yourself to be influenced by my own persuasion, you will thank me.

Tickets will be gone soon! Order yours here.

"ROMY AND MICHELE'S HIGH SCHOOL REUNION" is probably much more fun than yours was — A Review

Cortney Wolfson as Romy and Stephanie Renee Wall as Michele in Romy and Michele's High School Reunion - Photo Credit: Mark Kitaoka

I could begin this review of the musical Romy and Michele's High School Reunion with the words, "The 5th Avenue Theatre has done it again!" But then I would be repeating myself. The 5th is renowned for the number and quality of its new works. In the past 17 years, the amazing talents there have created 18 new musicals, including this one. Nine of them have gone on to Broadway. Two have won Tony Awards® for Best Musical. Therefore, I will begin instead with the ending—a standing ovation accompanied by as much applause as I have ever heard within the walls of this historic theater. That level is likely to continue every night during its run, which ends on July 2, 2017. Everyone can relate to its messages. This high-energy, colorful, and fun musical, is based on the 1997 film by the same name, which I must confess I have never seen. Regardless of how it might compare with the film, this production dazzled the crowd on opening night.

Stephanie Renee Wall (Romy), Cortney Wolfson (Michele) and the cast of Romy and Michele's High School Reunion - Photo Credit Mark Kitaoka

Directed by Kristin Hanggi, Romy and Michele's High School Reunion takes a realistic look at the anxiety surrounding any 10th high school reunion. In this case, it's taking place in 1997 for the Class of 1987 from fictitious Sagebrush High in Tucson, Arizona. Devoted best friends, Romy White (Cortney Wolfson) and Michele Weinberger (Stephanie Renee Wall) have been roommates since graduation, now living in Los Angeles. One is employed and one is not. They spend a lot of time in bathrobes, sitting on the couch in their messy apartment, watching TV. Or maybe they dress in the over-the-top fashions they prefer and hit the club scene. 

When Romy and Michele receive a reminder that their class reunion is happening in two weeks, they debate whether to attend or not. Once they agree to go, they are in a mad dash to come up with facetious ways to impress their classmates and hide the fact that they have next to nothing to show for an entire decade after graduation. They pretend to be business women, each claiming (separately) to have invented Post-it® Notes. The results of how they clumsily execute these falsehoods, along with revelations of their real feelings about and for each other, test their friendship and give the story the tension it needs to be more than a cliché.  

Cortney Wolfson (Romy White) and Stephanie Renee Wall (Michele Weinberger) in Romy and Michele's High School Reunion - Photo Credit Tracy Martin

Romy and Michele's High School Reunion explores the nature of friendship, the viciousness of high school's mini society, the pressure to succeed and to survive harsh judgement, and the self discovery and self acceptance hopefully acquired with maturity. Who doesn't remember a caste system dominated by your own high school's equivalent to this musical's "A-group," clique of snobbish girls? In this case, they are the cheerleaders, a unfair stereotype, to be honest, but one often held up as an example. Their mean-spirited leader is Christie Masters (Tess Soltau) who has claimed and will dominate the school's most popular male heart throb, Billy Christianson (Michael Starr). 

Hannah Schuerman (Toby Walters) in Romy and Michele's High School Reunion - Photo Credit Mark Kitaoka

Sometimes insecurity and immaturity can make "nice" people be cruel. Then there are the not-nice ones who will always be that way. As in real life, elevated social status in high school does not always last. Most of us have seen popular kids end up losers and some of the so-called "losers" end up great successes. To its credit, the musical is honest in showing how even the victims and the heroines themselves were capable of hurting others in turn. 

Among those carrying wounds from the past are three quintessentially typical characters every class has. They are the rebel "bad girl" smoker Heather Mooney (Jordan Kai Burnett), the cheerful goody-goody, Toby Walters (Hannah Schuerman) who is nice to everyone, even those who laugh at her behind her back, and the nerdy guy whose attentions are always rejected, in this case Sandy Frink (Michael Thomas Grant). Like the two co-stars, all these other cast members, and the ensemble, gave outstanding performances.

Jordan Kai Burnett (Heather Mooney) in Romy and Michele's High School Reunion - Photo Credit Tracy Martin

The show's fine acting and singing, impressive dancing, and, more made for non-stop enjoyment. The music and lyrics, by Gwendolyn Sanford and Brandon Jay, don't hold back. Fabulous choreography by Peggy Hickey and the work of Dance Captain Trina Mills made it hard to even blink your eyes. The dance moves synchronized perfectly with the music. Tim Symons directed, and played in, a great combo of keyboard, guitar, bass, and drums. Amy Clark dressed the cast in the ideal costumes. Another fine aspect was The 5th Avenue's typically versatile, well-functioning, and clever stage sets, this time designed by Donyale Werle.

Although the truths presented in this musical exist in every generation, certain aspects of the show can make the viewer aware of generational differences too. Its flavor, and rightfully so, is definitely of the 1980s and '90s, making those of us who were busy being parents by then feel uncomfortably old. The music stuck me as being a bit too loud, but I think people who did graduate in 1987 probably liked it that way. On the plus side, even with the volume up, I could hear and understand all the lyrics, so kudos to Christopher Walker's excellent sound design and the engineering. Some of the bright lights shining right in my eyes at times bothered me a little, but again, I might be extra sensitive to that. The lighting overall greatly enhanced this musical. It was definitely a visual treat in so many ways. 

Of course it is silly. Of course some aspects of the plot seem farfetched. But we go to musicals to escape the real world for a couple of hours and be happily entertained. No one fulfills that wish with as much style, class, quality, and pizazz, or true success, as this wonderful venue. Considering all that, I guess I will end up repeating myself.

"The 5th Avenue Theatre has done it again!" 

Treat yourself to the pleasure of Romy and Michele's High School Reunion. For your convenience, here's a link to the online box office. 

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"The Secret Garden" at The 5th Avenue Theatre Brings Grown-up Depth to a Childhood Favorite

Among the many books I read as a girl, Frances Hodgson Burnett's classic children's book The Secret Garden remains a favorite. I fell in love with it all over again on opening night of the revival of the award-winning 1991 Broadway musical The Secret Garden at The 5th Avenue Theatre, in Seattle. It runs there until May 6, 2017. The story, originally serialized in 1910, appeared shortly after in book form and remained popular throughout my 1960s childhood, at least. As an adult, I now appreciate this story even more, as moving and meaningful in a most grown-up way. Presented with stunning beauty in all aspects of the sets, lighting, sound, music, costumes, and special effects, it becomes a magical experience.

The 5th Avenue Theater's Executive Producer and Artistic Director David Armstrong not only directs this masterpiece but also did the choreography. His exceptional taste and talents maximize the potential of Marsha Norman's book and lyrics, Lucy Simon's music, and the fine cast. The production is the product of a collaboration between The 5th Avenue and the Shakespeare Theatre Company in Washington D.C. It includes impressive and award-wining actors from our nation's opposite shore as well as the Pacific Northwest. (You can learn more about cast members and read their bios by clicking here.) 

Josh Young as Dr. Neville Craven in The Secret Garden- Photo Credit: Tracy Martin

Like all children of rich, indulgent, but indifferent parents, who provide material things in place of genuine love and closeness, the young protagonist, Mary Lennox (Bea Corley) was already a miserable, bossy, unappealing, and lonely child when orphaned in late 19th century India. Her parents, there as part of the British Raj, die in a cholera epidemic. So does the woman who comes closest to being her surrogate mother, the servant Aya (Maya Maniar) Other servants abandon the household out of fear, leaving the child completely alone. After being discovered by British military officers, she is sent back to England to live at the Yorkshire country estate of her appointed guardian, a reclusive and hunchbacked uncle named Archibald Craven, played by Broadway and West End star Tam Mutu. 

Daisy Eagan as Martha and Bea Corley as Mary Lennox in The Secret Garden - Photo Credit: Tracy Martin

Meanwhile, the estate's staff tries to be loving and patient with this difficult girl who needs to learn how to get along with others. She has not known parental love and normal family life, or even friendships with peers. Seattle favorite Marianne Owen gives a fine performance as the housekeeper, Mrs. Medlock. So does Daisy Eagan as the warm and charming maid, Martha. Coincidentally, Eagan herself played the role of Mary Lennox in the original Broadway production of The Secret Garden. She became the youngest female actor to win a Tony Award® for Best Musical as a result. 

Tam Mutu as Archibald Craven and Lizzie Klemperer as Lily Craven in The Secret Garden - Photo Credit: Mark Kitaoka

The actual garden in "The Secret Garden" was the special haven of Archibald Craven's young wife, Lily (Lizzie Klemperer). After her death, he sank into a pathetic existence as a mournful recluse who cannot accept or move beyond his loss. Long before Mary's arrival, the gate to this walled garden was locked and the key hidden. Special effects abound in this spectacular production. My favorite was the large artist's portrait of Lily, complete with the rich and glowing colors of a Maxfield Parish painting. From within the frame on the wall, she comes to life and sings, her unforgettable soprano voice filling the theater. 

Ignored by her uncle in his vast estate on the Yorkshire moors, Mary's only companions are her nursemaid Martha, Martha's brother Dickon (Charlie Franklin) and the old gardener, Ben Weatherstaff (Seán G. Griffin). From them, this lost and lonely child begins to discover the joys of both nature and friendship, instead of being entirely focused on herself. She also obsesses about the overgrown and neglected garden and wants desperately to get inside. 

Bea Corley as Mary Lennox and Lizzie Klemperer as Lily Craven in The Secret Garden - Photo Credit: Mark Kitaoka

After hearing cries in the night, young Mary discovers another secret. Confined to his room is her equally miserable cousin, Colin Craven (Guthrie Greenwood Bettinger), a boy about her age. He is the son of her Uncle Archibald and late Aunt Lily. After his mother died in childbirth, for all the following years, he was hidden, kept in bed, and sometimes drugged by a physician uncle, Doctor Neville Craven (Josh Young), Archibald's younger brother. The decision was supposedly an attempt to preserve the seemingly fragile life of the tiny infant, and out of fear that he would inherit his father's deformity. This part of the story is the most difficult to fathom, but true to the book. Archibald, because of his unbearable grief, sees his son only when the boy is asleep. The doctor, whose motivations complicate the plot, has convinced the child that he cannot walk and will die. After Mary's intervention, his life will change. The garden will come to symbolize the very idea of spring and rejuvenation, both botanically speaking and within the human heart. 

Lizzie Kelmperer as Lily Craven and Coleman Hunter as Colin Craven in The Secret Garden - Photo Credit: Mark Kitaoka

Mary and Colin, each dealing with challenges and circumstances imposed on them by adults, will finally discover within the walls of the Secret Garden the freedom and joy every childhood should include. Both of these young actors amazed me with singing abilities beyond their years. They sang with confidence, clarity, and volume, worthy to perform with the adult actors around them, whose vocals were consistently excellent, moving, and beautiful. At times, this musical seems more like opera, accompanied by the theater's outstanding orchestra, at its best. In fact, this entire production is The 5th Avenue at its best, in every way.

The Cast of The Secret Garden - Photo Credit: Mark Kitaoka

If you need to be uplifted by a story about hope and the renewal of the spirit, this is it. And speaking of spirits, this musical is populated with them, eight spirits in all. Illuminated and ever present, they poignantly suggest that past and present may exist simultaneously, with our absent loved ones still near, though unseen. The loved ones surrounding me when I was the little girl who read this book decades ago, seemed close as I sat in the audience. Revisited your own memories of childhood wonder and innocence, in the context of your adult perspective. Make plans now to see The Secret Garden.  

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Review of "THE PAJAMA GAME" at The 5th Avenue Theatre — No slumber at this lively party.

The Pajama Game, at The 5th Avenue Theatre in Seattle, now through March 5, 2017, invites your news-weary brain to slip into something more comfortable. But don't expect to get any sleep. This rollicking musical packs great music, dance, and song into a tale of workplace romance, office politics, and labor union woes, all with a happy resolution. Based on a 1953 novel called 7 1/2 Cents, by Richard Bissell, it portrays both romantic and economic conflicts in a story about the struggles employees of the Sleep-Tite pajama factory face when they ask for a raise in that amount. The company's owner, Mr. Hasler (David Pichette), will have none of it and expects his handsome new hire, Supervisor Sid Sorokin (Josh Davis) to support and enforce his views. When Sorokin falls for the union's Grievance Committee head, Katherine "Babe" Williams (Billie Wildrick), the sexual tension heats up, especially with the two of them on opposite sides of the issue. The story is dated, true, but put it in the context of society in the 1950s, get past the issues, and just enjoy it for what it is.

Sid Sorokin (Joshua Davis) and Katherine "Babe" Williams (Billie Wildrick)  in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

George Abbott and Richard Bissell wrote the book for this musical, which first opened on Broadway on May 13, 1954, winning Tony Awards® in 1955 in three categories— Best Musical, Best Performance by a Featured Actress in a Musical, for Carol Haney, and Best Choreography, for Bob Fosse. Richard Adler and Jerry Ross wrote the music and lyrics for this and their other hit, Damn Yankees, before Ross died suddenly and unexpectedly in 1955. Unlike other teams, Adler and Ross were each both composer and lyricist and contributed their skills equally. Post war musicals, like the era's pop music (not counting rock 'n' roll) had a tamer, more civilized sound than during the Swing Years. The energy of The Pajama Game harkened back to the spectacularly jazzy and lively musicals of the 1930s. Tunes like Steam Heat, Hey There, There Once Was a Man, and Hernado's Hideaway thrilled audiences and became hits in their own right. 

Gladys (Sarah Rose Davis) dances at Hernando's Hideaway in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

No group of musicians could have performed these tunes better than the fabulous orchestra at The 5th Avenue Theatre did when I attended on opening night. With musical direction by Joel Fram, this orchestra deserves much of the credit for The 5th Avenue having become the nation's supreme home for musical theater. The 17 members were flawless in their abilities. Even the volume seemed perfect. And speaking of sounds, Sound Designer Ken Travis made magic. Touches like the hiss of steam irons helped bring it all to life.

The company of The Pajama Game at The 5th Avenue Theatre.
Photo credit Mark Kitaoka

Director Bill Berry brought out the absolute best in this talented cast, where even minor parts make major contributions to a production packed full of fun. Here is an Ensemble so full of characters with distinct and memorable personalities. The chemistry of the lead couple felt realistic in their portrayal of the hot and cold, angst and ecstasy of being madly in love.  The first chance to hear Davis sing was his solo number A New Town is a Blue Town. The power of his voice made me eager to hear more. Then, when he and Wildrick sang as a duo, I loved the way their two fine voices seem as made for each other as their characters were. They blended beautifully, which is not always the case. 

Hines (Greg McCormick Allen) and Mabel (Shaunyce Omar) in The Pajama Game at The 5th Avenue Theatre. 
​Photo credit Mark Kitaoka

Other relationships, whether romantic or casual, offered just as much sparkle. Factory foreman, Hines (Greg McCormick) has a serious jealousy problem concerning his flirtatious girlfriend, the boss's secretary Gladys (Sarah Rose Davis). He deals with it (unconvincingly) with hilarious help from the receptionist, Mabel (Shaunyce Omar) in the song I'll Never be Jealous Again. Omar, McCormick, Omar, and Davis all infused their characters with so much personality they will stick in your mind. So will the boss, Mr. Hasler. Pichette gave a fun and fiery performance. So did Taryn Darr as Mae, the hot blooded, redhead union member. Other fine performances were given by Kyle Robert Carter, as the union "Prez," Allen Galli, as Babe's "Pop," and the charismatic Lauren Du Pree in the role of the employee Brenda and as a member of the Ensemble.

Prez (Kyle Carter) and Mae (Taryn Darr) in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

Bob Richard's perfect choreography (including the tap numbers I always crave) contributed so much to the revelation of character and emotion, as much as any singing or acting. Director Bill Berry, in addition to allover excellence in direction, would be the one to thank for the impactful touches of physical comedy so important to the enjoyment factor in this production. This cast is obviously having a great time, and the audience feels that vibe. 

Outside of the non-stop movement and actual dancing, the greatest visual impact came from the wow-worthy set designs, costumes, and lighting, by Carol Wolfe Clay, Rose Peterson, and Robert J. Aguilar, respectively. Wooden posts supporting the roof inside the factory magically turned into the trucks of leafy trees in a park or surrounding a house. Period perfect clothing was a delight, and the lighting used during the scene of the company picnic on a summer day seemed so natural I could almost feel the heat. Other times, as in the nightclub scene at Hernando's Hideaway, creative use of lighting made the mood.

The company of The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

Whenever I watch a performance, I think about what it takes, including behind the scenes, to pull a great show together. Everyone involved gives it all they have. However, even as a reviewer who likes to emphasize the positive, I still often observe aspects of plays and musicals that, in my opinion, detract at least slightly. On our long drive home after each show we see, my husband and I discuss and compare our impressions. In this case we heartily agreed that this production of The Pajama Game is a masterpiece, possibly the best musical we have ever seen at The 5th Avenue. Dare I call it flawless? YES! For the first time ever, I will!

I recommend going to the theater's online box office right now to order tickets for The Pajama Game immediately. 

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CATCH TAPROOT THEATRE'S "BIG FISH" INSTEAD OF THE EVENING NEWS

Chris Ensweiler and Zeb Kovell in Big Fish at Taproot Theatre. Photo by Erik Stuhaug.

If you need a break from politics or horrible news of the terrorist attack or shooting of the day, I have a suggestion. Go see a delightful new adaptation of the Broadway musical Big Fish at Taproot Theatre, in Seattle. It's a worthy way to celebrate the 40th Anniversary Season of one of Seattle's best theaters. You might remember the novel, by Daniel Wallace, or the Columbia Motion Picture (book written by John August, music and lyrics by Andrew Lippa, as in the case of this adaptation as well). However, if you haven't seen this version, well, you haven't seen it and might be sorry if you don't. This talent filled production, under Scott Nolte's fine direction, is waiting for you in Taproot's Jewell Mainstage Theatre now through August 13, 2016. Beyond the light-hearted entertainment to be had, this musical will take you on a more profound and touching journey than you expect. 

Sarah Russell and Margaret Lamb in Big Fish at Taproot Theatre. Photo by Erik Stuhaug.

Too many musicals I've seen have great songs and dances wrapped around a shallow plot. You won't find that in Big Fish, in spite of its fanciful set of characters. They include a giant (Nick Watson), a mermaid (Carly Squires Hutchison), a witch (Sarah Russell), and other fun personalities who appear in the stories traveling salesman father, protagonist Edward Bloom (Chris Ensweiler) tells his young son, Will Bloom (Zeb Kovell on the night I was there, but also played by Teigun Pesce). In all of them, he is suspiciously the hero. He presents these stories as fact, but they sound too outlandish. Although entertained by his father's tales while still a boy, Will would trade all of them for more time spent together. The adult Will Bloom (Tyler Todd Kimmel) comes to have distain for what he believes is just his father's overactive imagination and a poor attempt to make himself impressive to the son he leaves alone too much of the time.

Nick Watson and Chris Ensweiler in Big Fish at Taproot Theatre. Photo by Erik Stuhaug.

When the musical opens, Will has grown up to be a rather serious and pragmatic young adult, inclined to pessimism, who worries that his father's outlandish stories will be an embarrassment at his upcoming wedding to the soon-to-be Josephine Bloom (Emily Shuel). We can sense the disconnect right away and it becomes the primary conflict of this tale. When sadness befalls the family, both must finally face head-on, and try to resolve, their differences. 

Loving them both is Edward Bloom's ever-devoted wife and mother to Will, Sandra Bloom (Chelsea LeValley) and Will's bride, Josephine Bloom (Emily Shuel). Both were charming in their roles. Unlike Will, who sees himself as misunderstood, these two women embrace Edward's personality and do their best to bring the father and son together. The fact that Josephine is pregnant introduces a whole new dynamic, with Will anticipating his own role as a father.

Chelsea LeValley and Chris Ensweiler in Big Fish at Taproot Theatre. Photo by Erik Stuhaug.

Perfectly cast, Ensweiler's energetic and charismatic stage presence gives the show its most memorable vibe, but I was delighted to discover the talents and beautiful singing voice of LeValley in her role as his wife. This is her first production at Taproot, and I trust she will return since she did such a great job. I also especially enjoyed Kimmel's fine voice. Although there were times when I felt certain voices did not mesh well, and heard a few flat notes, overall, they were very good, as was the acting.

A simple, but well designed and flexible set served the production's needs perfectly. Colorful and clever costumes brightened the stage and gave personality to the characters. I loved the way Costume Designer Sarah Burch Gordon (whose work I have always admired), handled the challenge of having a mermaid walk around on stage and how she made Watson into a convincing giant. I also enjoyed the excellent live music under the direction of Edd Key, with the volume at just the right level. 

Big Fish has been advertised as a tale about how every father wants to be a hero to his son and how a man will be remembered for his stories. I see an equally universal message but far deeper truth—we never really, truly, know our parents. As children, and even adults, most of us are guilty of viewing those who brought us into the world only through the filter of our own vanity and as if their lives, too, began with our birth. I don't have my parents any longer. Now, through their diaries, old photos, and the words of others outside the family who knew them as young people, I try to discover the big picture of their personalities, motivations, and dreams. They really were much more than simply my mom and dad. I wish we could have stepped out of our generational roles and formed truer friendships.

Will Bloom also discovered some truths too, and surprises, both of which the love in his heart finally allowed him to see. Maybe those stories his father told weren't so outlandish after all.

Give yourself or someone else the gift of a ticket to Big Fish. Call (206) 781-9707 or click here. It's the perfect feel-good summer production.

MUSICAL "GREASE" AT THE 5TH AVENUE DOES NOT KNOW WHICH WAY TO SLIDE

Danny Zuko (Bryan Gula) and Sandy Dumbrowski (Solea Pfeiffer), center, with the Company of Grease at The 5th Avenue Theatre.
Photo credit Mark Kitaoka

I looked forward to the musical “Grease” at The 5th Avenue for months, but came away with mixed feelings. This production, which runs July 9-Aug. 2, 2015, got off to a great start. The Dusty 45s, a 1950s-style Seattle band, opened the show, supposedly playing for a reunion of a Class of ’59 from a fictitious high school. Led by the energetic guitar and trumpet player Billy Joe Huels (Johnny Casino, here) every member contributed rocket fuel for a blast of a performance leading into the musical, and other fine musicians joined them later. That music set the mood and was probably the main reason most of the audience went wild for this production, directed by Eric Ankrim. That audience included people ranging in age from those young enough to think of the ‘50s as their grandparents’ era to those who probably did graduate in 1959. 

The Company of Grease at The 5th Avenue Theatre.
Photo credit Tracy Martin

The problem with this show was that it is neither raw enough to feel painfully realistic nor sweet enough to come across as pure hokey nostalgia. Some of the things said, done, and talked about, especially in mixed company, were just too far-fetchef, if you wanted nostalgia. On the rougher side, the raunchy trash talk seemed gratuitous, like a added dose of token "bad ass" but not convincingly scary, just crass. 

In spite of that, everyone in the cast performed well within the confines of their roles. The 5th Avenue’s version of Grease does have plenty to offer if you want to spend a fun evening immersed in a clichéd view of the ‘50s with a Mickey-Mouse-Club-turned-naughty feel. The male lead, Bryan Gula, as Danny Zuko of the “greaser” crowd, and Solea Pfeiffer as the proper good girl, Sandy Dumbrowski, did not entirely convince me of their teenage angst and frustration, but they gave it a good try. Petite fireball Kirsten deLohr Helland will be remembered for her edgier role as bad girl Betty Rizzo (who actually had more depth and integrity than some of her peers), but she had a bit too much of an attitude at times. Fortunately, Helland did a fine job of bringing out Rizzo's humanity when it counted, giving this musical a badly needed touch of real drama. Kudos to her.

Rizzo (Kirsten deLohr Helland, center) and the Company of Grease at The 5th Avenue Theatre.
Photo credit Tracy Martin

The plot suffers from disjointedness and confusion. One minute a rumble is about to happen among the boys (although the threat never seemed real), and the next minute we’re on to a new scene with no idea whether or not the rumble happened. The lead couple is on the outs and then suddenly on the hood of the car, ready to kiss, but when did they reconcile? Ironically, one of the best scenes I saw seemed inserted into the story without any logical reason. It centered around Frenchie (Sarah Rose Davis), the beauty school dropout, and Teen Angel (Kyle Robert Carter) and provided not only creative and fun examples of set and costume design, but also a chance to hear Carter's wonderful solo, the best voice I heard all evening.

Frenchie (Sarah Rose Davis) and Teen Angel (Kyle Robert Carter), center, and the Company of Grease at The 5th Avenue Theatre.              Photo credit Tracy Martin

There were other good voices, but I did not like the way the microphones affected them and sometimes thought they were too loud in comparison with the live music. I loved the choreography throughout. There was a lot of talent on that stage, a lot of it very young talent, but the cast also included veteran actress Marianne Owen, who played the one adult in the musical, Miss Lynch. Owen always gives a great performance. I enjoyed and appreciated Harmony Arnold’s costume designs, Christopher Mumaw’s stage sets, and Tom Sturge’s typically perfect lighting.

Danny Zuko (Bryan Gula) and Sandy Dumbrowski (Solea Pfeiffer) in Grease at The 5th Avenue Theatre.
Photo credit Tracy Martin

People in the audience seemed to love this show. The woman sitting next to me could possibly have been in high school in the late ‘50s, and she and her friends were having a great time. She whooped and whistled, moved to the music, and applauded wildly. Meanwhile, I sat there next to my equally quiet husband, thinking, Man, what’s wrong with me? I must be way, way too serious. I did enjoy it, did applaud, but in spite of great performances and fun music, I just didn’t feel truly engaged, much less on the verge of swooning, and some of it irritated me.

Sandy Dumbrowsk (Solea Pfeiffer, center) and the Company of Grease at The 5th Avenue Theatre.
Photo credit Mark Kitaoka

As we watched what was supposed to be these characters' mapless journeys from the struggles and insecurities of youth to adulthood, I suspected that most of them would miss the turnoff and never reach their destination. This had to be the most immature bunch of high school seniors ever, posing as tough gang members and their girlfriends. I questioned why this musical celebrates Sandy's rise in social status gained by completely succumbing to peer pressure, giving up her good girl looks and ways for sleaze appeal, as victorious. According to the program, this was a transition from “uptight teenager to a joyful young woman,” as if cigarettes, tight pants, a boy friend who treats you badly, and conformity necessarily lead to a joyful life. (I wonder how Sandy looked at the 30-year reunion.)

Maybe the problem was that my memories of 1959 are those of a very young child from what people would have called a "respectable family" in a small town. My older sister and her boyfriend were high school seniors about that time. My sister could have stepped right out of a 1950s movie role. Pretty and popular, she lived, it seemed to my four-year-old self, in a magical swirl of high school clubs, dances, football games, wool skirts and sweaters, saddle shoes, record players, 45s, and all. From my adult viewpoint, there’s little doubt that beer, cigarettes, and sex entered into the picture during their teen years too, but those things never entered my innocent mind at the time I was making my own memories of the late '50s. The closest thing to Grease in my young life was whatever my sister’s boyfriend used to slick his hair back into a D.A., and I adored him. After all, he let me sit on his lap and steer his car.

Kenickie (Saxton Jay, center) and (l-r) Sonny (Jorden Bolden), Doody (Kody Bringman), and Roger (Patrick Shelton) in Grease at The 5th Avenue Theatre.
Photo credit Mark Kitaoka

This fascination with the ‘50s puzzles me sometimes. I asked my husband why he thought that decade became symbolic of carefree youth, fun, and happiness, when in reality, it included the Korean War, McCarthyism, segregation, bomb shelters, and a post World War II society that pressured women back into the Betty Crocker cookbook role of subservient housewives, after they had held vital jobs in the defense industry. Why are so many people so in love with a fantasy?

“It was the music,” he said. “It had all that energy.” 

He’s right, I’m sure. An evening spent watching Grease at The 5th Avenue will definitely energize you. Go. Have fun. Just don’t believe everything you see and hear.

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