Uncategorized

BWW Reviews: SummerStock Austin Presents Tuneful, Joyous BREMEN TOWN MUSICIANS

Theatrical shows for children are a dime a dozen, but children’s theater productions that can also please adults are as rare and unique as the musically inclined animals in The Bremen Town Musicians. The exuberant musical-one of SummerStock Austin’s three offerings currently playing in repertory at The Long Center-is a fantastic, enjoyable production for kids and adults. This is as good as children’s theater gets.

Based on The Brothers Grimm folktale, “The Town Musicians of Bremen,” The Bremen Town Musicians tells the story of four animals-a donkey, a dog, a cat, and a rooster-who are all past their prime and are not nearly as useful to their masters as they once were. When threatened with abuse or death at the hands of their owners, the animals all flee with the plan to travel to Bremen, a town holding a contest for new musicians.

Much of the successes of the production can be attributed to Austin’s own Allen Robertson, the director, book writer, lyricist, and composer of this wonderful show. Robertson follows the Grimm tale relatively faithfully, though he shifts the setting from a small German village to the Depression Era dustbowl. Doing so gives the show an exciting musical texture of country, bluegrass, gospel, blues, and jazz sounds. Robertson’s score is upbeat and sunny, and his lyrics are deliciously clever, especially in the darkly comic “When I Grow Up,” “Sisters,” and “Robbers.”

The shift in setting also gives the design team plenty to work with. Teresa Carson’s set, featuring several moveable wooden staircases covered in burlap scraps and swatches, feels rustic and rural. Jason Amato’s lighting is warm and bright, and Pam Fletcher-Friday’s costumes are full of Depression era fashions, albeit with much more color. But Robertson’s shift in setting does even more for the themes and meaning of the story than it does for the music and design. Setting the musical in the American south gives the show far more poignancy. The story is no longer about mistreated animals. It becomes a metaphor for slaves fleeing their masters. Yes, I know that the Depression era is post-slavery by several decades, but when one of the animals is being chased by an evil, shotgun wielding farmer and all of them sing a song about their desire to be free, the slavery motif is apparent. Granted, such a metaphor will be lost on many of the children in the audience, but the adults are bound to appreciate it.

The entire ten person cast is outstanding, and their vocals on the full cast numbers are flawless, particularly on the opening number “Bremen,” the gospel-tinged “I Will Be There,” and the finale “Start Again.” They all turn in brilliant performances that are big and fun enough to entertain the children but clever enough to please the adults as well. Coy Branscum is a winning and likeable narrator with a fine voice, and he’s hysterical as the Mayor of Bremen, the only German part of what was originally a German story. Donnie Thigpen brings a little Sammy Davis flair to the arrogant Rooster, and Taylor Edwards brings a grace, elegance, and gorgeous voice to the role of Cat. As the stubborn hunting dog who’s lost his sense of smell, Ta’Ron Middleton is fantastic, and his big number, “The I Can’t Smell Blues,” allows him to show off his terrific voice. And as Donkey, the leader of the musical animals, Vincent Hooper is outstanding. He oozes personality and charm and has a thrilling voice as well.

While a Depression era tale may not initially sound like the ideal material for a children’s show, The Bremen Town Musicians succeeds, in large part due to the pleasing score and talented cast. Children will be amused by the characters and music, and adults will delight in the sophistication of the material. The Bremen Town Musicians is one of those rare family shows that rises above the “family show” moniker within minutes.

BWW Reviews: Bob Fosse Magic Comes to Austin with PIPPIN

Tackling a show like Pippin takes some major cojones. The original Bob Fosse production featured an iconic, Tony Award winning performance from Ben Vereen and was the first Broadway musical to feature the work of composer/lyricist Stephen Schwartz. The current Broadway revival of Pippin just won four Tony Awards for Best Featured Actress, Best Actress, Best Direction of a Musical, and Best Revival of a Musical. Pippin is certainly not a safe choice for a troupe of young performers like the High School and college age artists of SummerStock Austin. That said, the award-winning SummerStock Austin never takes the safe road, and their courageousness pays off with their exciting, enjoyable, and thrilling production of Pippin.

The 1972 musical about young prince Pippin’s search for meaning and purpose in his life is incredibly tuneful (“Magic to Do” and “Corner of the Sky” have become Broadway standards), but the book by Roger O. Hirson is somewhat challenging. Hirson seems just as lost as Pippin does at times, and the final scene is a bit of an oddity. The current Broadway revival tries to hide the show’s problems underneath a bevvy of elaborate acrobatic tricks, but this production’s director/choreographer, Ginger Morris, makes no attempt to hide how Pippin is a weird, clunky, dated show. Strangely, that’s a wise choice that pays off. The production almost feels like a time capsule from 1972, complete with Fosse’s original choreography and vision. The replication of Fosse’s work is particularly nice to see during “Glory,” in which a holy-war battle is re-enacted with some tongue-in-cheek humor and some horrifically real images of blood, guts, and severed limbs. While other productions take the violence out of the number and turn the sequence into something harmless and frothy, Morris goes with Fosse’s original vision, and the effect is both disturbing and amusing.

The nods to other notable productions of Pippin continue with Teresa Carson’s set and Ellie Blackwood’s costume designs. Carson adorns her set with circus posters and pennants, a clear tip of the hat to the look of the current revival, and Blackwood’s costumes pull from both Broadway productions. Some pieces are sleek, black, Fosse-esque outfits while others are more circus inspired. Overall, the design work creates a bizarre, eclectic world that completely fits the peculiar, eccentric material.

The cast, as is to be expected from SummerStock Austin, is assembled from some of the youngest and most talented triple threats in Central Texas. Every performer, whether they are in an ensemble, supporting, or leading role, is astonishing. As Pippin’s grandmother, Berthe, Monique Borses proves to be an enchanting character actress who hams it up in her scene-stealing cameo role. Alec Cudmore is wonderful as Pippin’s father, King Charles the Great. What starts as a caricature of the many dim bulbs who have found their way to power, Cudmore’s performance slowly adds a bit more flavor and thoughtfulness. He uses his biggest number, “War is a Science,” to show off his great, rich baritone voice, and his monologue towards the end of the first act earns some well-deserved applause.

Taylor Edwards turns in an equally effective performance as the evil Fastrada. She’s deliciously evil as she milks the comedic villain role for all it’s worth, and her when she dances, it’s as if you’re looking at any of Fosse’s great female protégées (Gwen Verdon. Chita Rivera. Anne Reinking. Pick your favorite). As Catherine, Pippin’s eventual love interest, Sarah Yoakley is brilliant. She has a lovely voice, strong comedic timing, and gives the character such earnestness and honesty. Her renditions of “Kind of Woman” and “I Guess I’ll Miss the Man” are perfect, and she’s able to turn what is often an unmemorable role into an unforgettable one.

But the two most memorable performances come from Vincent Hooper as the Leading Player and Gray Randolph as Pippin. Hooper’s take on the Leading Player is charismatic and charming but also dangerous and threatening. His performance comes off as a mix of Ben Vereen and Michael Jackson. The end result is a cool, sleek, debonair, and devilish character who demands attention. Every moment, gesture, pop of the eyes, and point of the finger has purpose. A true showman, Hooper dances with incredible precision and sells each of his numbers with effortless ease.

As Pippin, Gray Randolph is downright remarkable. He makes the most of his sweet but powerful voice, particularly on “Corner of the Sky,” “Morning Glow,” and “Extraordinary.” Though as strong as his singing is, Randolph’s acting is the true standout of his performance. He takes what must be one of the most unsympathetic protagonists in musical theater and makes us love him. While other Pippins come off whiney and detestable (William Katt is the televised/DVD version from 1981 immediately comes to mind), Randolph plays the role as an inquisitive young man lost on his journey towards self-fulfillment. There’s an innocent curiosity to him, and aside from some criminal activity at the end of Act One, we’ve all been in his shoes and can sympathize with his desire to find his place in the world. To top it all off, Randolph is an excellent dancer as well. When paired with Hooper in the Act Two opener “On the Right Track,” you realize you’re watching two stars on the rise.

With its strong direction and choreography, eye-catching design, and brilliant performances, Pippin is highly gratifying, immensely pleasing production. Lovers of musical theater need to head down to The Long Center to catch this spectacular show.