Stagebrush Theatre's Barnum
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 9/4/99
Press Release concerning storm damage to SBT received 9/20/99
(out of )When it opened in spring of 1980, the theatre world was wowed by actor/singer/dancer/acrobat extroidinaire Jim Dale, as he played the "Prince of Humbug," P.T. Barnum, in the slight Cy Coleman piece named for the lead character. Rather fittingly, the circus is used as a metaphor to explore (rather fancifully embellished, and sometimes just inaccurate) events in the life of Barnum, from sideshow hawker to world-renowned impresario and creator of the modern circus. In a constant battle with his puritanical New England wife, Charity, who attempts to bring respectability to this man bound for infamy, the play allows the lead to expound on the art of "Humbug," all the while performing amazing tricks as befit the circus setting.
Continuing a trend begun last year with their initial, successful production of the bulky Grand Hotel to start last season, Stagebrush Theatre has decided to once more produce the nearly-impossible. The requirements to mount this razzle-dazzle, though textually skimpy musical are enough to frighten off even professional companies. The theatre must be transformed into a big top, the enormous ensemble requires jugglers, magicians and acrobats, and the lead actor must have boundless energy and dexterity to pull off the difficult expectations of his role. Stagebrush should be commended just for having the chutzpah to attempt this. The fact that they are reasonably successful in this production only makes this even more of a must-see.
While there are some problems, both technically and in performance, this is one of those shows where, if you can come close, you've gone way-beyond expectations, especially for a top-tier community theatre. When my companion and I heard that local actor and ASU graduate student Greg London would be appearing opposite Valley favorite Kathi Osborne, we eagerly anticipated seeing this production. Even with Mr. London's limited vocal abilities and occasional line lapses, and the unfortunate bout of laryngitis that struck the wonderful belter Ms. Osborne on Saturday night, talented Director Robyn Ferracane has added so much innovative staging and peripherals, and brought out the highest energy from her cast, it seems wrong to point out what doesn't work, and instead focus on the minor miracles and hilarious humbug that she is able to pull off.
The show begins as you walk toward the theatre, where a cute circus midway is recreated, including clowns, games of chance, and hawkers bearing prizes. Inside, the lobby carpeting has been covered with a layer of hay, while popcorn and cotton candy sellers hawk their wares. If there is a better way to get the audience into the spirit of Barnum's world before a single note is sung, this reviewer can't think of it. Once in the theatre, the audience finds itself inside a multi-colored big-top with a stage that has been converted into a center ring, and acts of prestidigitation are performed with audience members as a warm-up. Once again, Scenic Designer and Executive Producer T.J. Weltzien, Lighting Designer Mike Eddy, and Costume Designer Timothy C. Slope are near the top of their form, creating the perfect space for this musical biography.
Mr. London proves to have enough stamina to be the Ring Master of Barnum's life. Ms. Osborne is wonderfully restrained as his stuffy wife. Even more impressive than the leads, though, is the work of the supporting cast and ensemble. Megan Walker's impressive voice works perfectly for the role of the Swedish Nightingale and temptress Jenny Lind. Lucas Coatney is exuberantly energetic and endearing as another Barnum attraction, General Tom Thumb. As his first side show, the "oldest woman alive," Joyce Heth, and in her role as a Blues Singer, Darcy Rould is able to highlight Robert L. Harper's exhaustive choreography. Tyler Service does a solid job portraying the Ring Master, who fittingly becomes a character eternally linked with Barnum's name.
The ensemble is overflowing with heart and energy, and make up for any of their slight vocal deficiencies or dancing abilities with their intense showmanship, a compliment to both performers and Ms. Ferracane.
Potentially the greatest problem (one which Stagebrush has done as much as they can with what they have) is the orchestra, which needs to be big, brassy and consistent. While under Irene Lopez' musical direction, the eight piece orchestra pulls off the first two without managing to accomplish the third. Despite this, their energy prevails once more.
Ms. Ferracane is proving to be as adept at helming musical theatre as she has been in carrying it as a lead. While this is a flawed piece in many small ways, nothing can take away from the fact that it also works in many other ways that more than compensate for its flaws. Once again, Stagebrush has nearly accomplished the impossible, and should be encouraged to keep it up, as their current season is filled with musicals that are as exciting and daring as they are difficult.
Production Details:
Barnum Music by Cy Coleman,
Lyrics by Michael Stewart, Book by Mark Bramble
Stagebrush Theatre, Scottsdale
(480) 990-7405
September 3 - 26, 1999