As you may know, I have been currently working with Denton Community Theatre in their production of "Seven Brides for Seven Brothers." My role as the sweet, love-struck Alice has been such a joy to portray! Here is the review of the production as featured in "The Column by John Garcia."
THE COLUMN STAFF:
CHIEF SENIOR THEATER CRITIC:
John Garcia
ASSOCIATE THEATRE CRITICS:
Bianca Baidoo
Clyde Berry
Mary Clark
Cheryl Cory
Esther Coughey
Richard Goulde
Matt Gunter
Lyle Huchton
Laurie Lindemeier
Samantha McChensney Franks
Mandy Rausch
Gina Robertson
Mark-Brian Sonna
*THE COLUMN IS READ BY OVER 12,900 SUBSCRIBERS WORLDWIDE*
THEATER REVIEWS
Seven Brides for Seven Brothers
Book by Lawrence Kasha and David Landay
Music by Gene de Paul, Al Kasha, and Joel Hirschhom
Lyrics by Johnny Mercer, Al Kasha, and Joel Hirschhom
REVIEWED 08/02/09
REVIEWED BY: Clyde Berry
ASSOCIATE THEATER CRITIC for John Garcia's THE COLUMN
________________SEVEN BRIDES FOR SEVEN BROTHERS________________
Work commitments have kept me away from THE COLUMN for the past few weeks, but it did allow me the opportunity to sneak in a show this weekend, and I leapt at the chance to see Brides/Brothers. This show has always been a novelty of sorts to me as it comes with a host of problems and a troubled history.
The basic story first appears as Roman legend, then was adapted into a short story by Stephen Vincent Benet, which was then picked up by MGM and made into a musical movie after five years of chasing the rights from a stage version that never materialized. At the same time it was being filmed, Brigadoon was also in production, and the studio favored it over Brides/Brothers as the box office smash, to the point of slashing the budget to give more money to the other film. MGM was wrong, and Brides/Brothers proved to be much more commercially successful than Brigadoon.
It wasn't until 1982 that the stage version appeared, first as a tour, then a Broadway production that lasted only five performances. After a brief West End run, the show all but disappeared for almost twenty years from the professional world. Even now, Music Theatre International lists only about twenty productions in the next year. It seems like the popular movie would convert well to the stage, but it actually presents a series of problems. First, there are many scene changes, often ones that are only a few lines for a big budget scene shift behind a curtain. This assumes that community theaters and high schools have the tech to build all the cabins, barns, town buildings, and interiors needed, some of them two stories tall.
That's a lot of set pieces, a lot of wood, a big construction bill, and a smart plan in place to figure out on how to move all that stuff around and light it. This sort of thing is a Tech Director's nightmare. We also go through a full year in the frontier mountains, and need an avalanche as well as period clothes for all of these seasons. Again, expensive, and problematic. Then there's the challenge of having potentially fourteen leads to keep up with as the brothers find their brides.
The book for this show doesn't help. The bits of story come so quickly and last so briefly, that very little room is left for character development. The performers often only have a song to really show any progression or growth. Not every brother or bride is flushed out that much, and it can be easy to confuse some names. There's also a need for the army of townspeople.
While seemingly easy, Brides/Brothers is a very daunting production that could easily end in disaster. Fortunately, Denton Community Theatre's production flows smoothly, and successfully navigates the challenges presented.
Seven Brides for Seven Brothers is about Adam Pontipee, a gruff mountain man who decides he wants a wife, seemingly more for having a cook/maid than for companionship and love. Milly, who works in the town restaurant, agrees to marry Adam and does so that very day, only to find out Adam has six uncivilized brothers who need Milly to pull a "My Fair Lady" makeover on them so that they can get brides as well. There's a battle of the sexes, some kidnapping, and a bit of confusion that gets cleaned up, leaving everyone to a happy result. Think of it as Oklahoma! meets Little Abner (also by Mercer).
Bonnie McCormick has done a wonderful job helming this production. Brides/Brothers never gets mired down in tech problems, and moves steadily and pleasing along. There are some great musical numbers, laughs, and energetic performances by a group of folks that are clearly well prepared, and having fun. McCormick has done well integrating the many different aspects of this production into a single story. The cast, which has a very large number of middle and high school students, executes each number, song, or bit enthusiastically.
CHIEF SENIOR THEATER CRITIC:
John Garcia
ASSOCIATE THEATRE CRITICS:
Bianca Baidoo
Clyde Berry
Mary Clark
Cheryl Cory
Esther Coughey
Richard Goulde
Matt Gunter
Lyle Huchton
Laurie Lindemeier
Samantha McChensney Franks
Mandy Rausch
Gina Robertson
Mark-Brian Sonna
*THE COLUMN IS READ BY OVER 12,900 SUBSCRIBERS WORLDWIDE*
THEATER REVIEWS
Seven Brides for Seven Brothers
Book by Lawrence Kasha and David Landay
Music by Gene de Paul, Al Kasha, and Joel Hirschhom
Lyrics by Johnny Mercer, Al Kasha, and Joel Hirschhom
REVIEWED 08/02/09
REVIEWED BY: Clyde Berry
ASSOCIATE THEATER CRITIC for John Garcia's THE COLUMN
________________SEVEN BRIDES FOR SEVEN BROTHERS________________
Work commitments have kept me away from THE COLUMN for the past few weeks, but it did allow me the opportunity to sneak in a show this weekend, and I leapt at the chance to see Brides/Brothers. This show has always been a novelty of sorts to me as it comes with a host of problems and a troubled history.
The basic story first appears as Roman legend, then was adapted into a short story by Stephen Vincent Benet, which was then picked up by MGM and made into a musical movie after five years of chasing the rights from a stage version that never materialized. At the same time it was being filmed, Brigadoon was also in production, and the studio favored it over Brides/Brothers as the box office smash, to the point of slashing the budget to give more money to the other film. MGM was wrong, and Brides/Brothers proved to be much more commercially successful than Brigadoon.
It wasn't until 1982 that the stage version appeared, first as a tour, then a Broadway production that lasted only five performances. After a brief West End run, the show all but disappeared for almost twenty years from the professional world. Even now, Music Theatre International lists only about twenty productions in the next year. It seems like the popular movie would convert well to the stage, but it actually presents a series of problems. First, there are many scene changes, often ones that are only a few lines for a big budget scene shift behind a curtain. This assumes that community theaters and high schools have the tech to build all the cabins, barns, town buildings, and interiors needed, some of them two stories tall.
That's a lot of set pieces, a lot of wood, a big construction bill, and a smart plan in place to figure out on how to move all that stuff around and light it. This sort of thing is a Tech Director's nightmare. We also go through a full year in the frontier mountains, and need an avalanche as well as period clothes for all of these seasons. Again, expensive, and problematic. Then there's the challenge of having potentially fourteen leads to keep up with as the brothers find their brides.
The book for this show doesn't help. The bits of story come so quickly and last so briefly, that very little room is left for character development. The performers often only have a song to really show any progression or growth. Not every brother or bride is flushed out that much, and it can be easy to confuse some names. There's also a need for the army of townspeople.
While seemingly easy, Brides/Brothers is a very daunting production that could easily end in disaster. Fortunately, Denton Community Theatre's production flows smoothly, and successfully navigates the challenges presented.
Seven Brides for Seven Brothers is about Adam Pontipee, a gruff mountain man who decides he wants a wife, seemingly more for having a cook/maid than for companionship and love. Milly, who works in the town restaurant, agrees to marry Adam and does so that very day, only to find out Adam has six uncivilized brothers who need Milly to pull a "My Fair Lady" makeover on them so that they can get brides as well. There's a battle of the sexes, some kidnapping, and a bit of confusion that gets cleaned up, leaving everyone to a happy result. Think of it as Oklahoma! meets Little Abner (also by Mercer).
Bonnie McCormick has done a wonderful job helming this production. Brides/Brothers never gets mired down in tech problems, and moves steadily and pleasing along. There are some great musical numbers, laughs, and energetic performances by a group of folks that are clearly well prepared, and having fun. McCormick has done well integrating the many different aspects of this production into a single story. The cast, which has a very large number of middle and high school students, executes each number, song, or bit enthusiastically.
Cindy Lee's choreography is great for those who do and do not have dance experience, and everyone looks good. It struck me how much everyone was concentrating on "doing it right" which speaks well to everyone's dedication, but it does sometimes slow the storytelling. I particularly liked the dance/movement in Act II's "Lonesome Polecat" and her adaptation of the film's famous barn raising sequence, which is billed now in productions as the Social Dance.
Gail Crump's set design is brilliant. Crump has made several wagon units that are used on all sides, split open, and are two stories. These wagons move quickly, quietly, and are nicely dressed. If it were not for his design, this production would not be in the shape it is. A few pieces at the top don't have quite the same amount of detail/distressing work, but they are used the least and soon disappear.
Betty Ann Barrow's costumes are lively and appropriate. The brides and brothers have two distinctive and effective looks that help give each one their own identity. Although I do wonder why only Adam has leather and fur, and not his brothers. The townspeople all look like Townies, but only have one outfit. While the brothers do have jackets for winter, no one else seems to. But then, the time and seasons pass unnoticed in the script, we even have a baby born. Doing the nine month math on the baby doesn't pan out either, but that's a flaw in the writing.
Musically, the production is strong as well. Christopher Redden was the music director, and it seems that there was created music tracks used for the performances. I'm not sure I enjoy listening to a pre-recorded overture, but the scene change music was nice to have. Michael Rausch did well as vocal coach. "Lonesome Polecat" was my favorite number for the men, but there were several nice trios and duets that were quite lovely. Again, a well prepared cast who does not seem nervous about what they were trying to do.
This community production is truly the work of the town and families who have all pulled together to make this difficult show come together. Schoolmates pulled in friends, and entire families are involved both onstage and off. While some of the boys are a bit young to be suitors and competition, there is a great deal of energy brought forward by the young cast. It is this energy, eagerness, and smart direction/tech that makes this production a success, and a sold-out run as well.
Nicholas Long plays Adam Pontipee, the eldest brother and bull headed man. Adam has a beautiful voice and nice presence. While the script makes his character a bit one-note until the last few pages, Long fights to make Adam a likeable grump. He could be a bit more woodsy-gruff at times than simply stubborn, so that he can come around a bit more at the end. It also doesn't help that the new numbers added in this stage version are introspective songs with little action, but he does well with his `parking and barking'.
Long has good chemistry with Milly, played by Mandy Hilliard Rausch. Rausch has equally oddly written, unrealistic scenes where meals appear out of nowhere, and cabins are magically cleaned. She compensates well, and makes Milly the most grounded character in the piece.
The challenge for the gentleman playing the rest of the Pontipee brothers is balancing the rowdiness with creating an individual personality. It would be easy to make these guys the Seven Dwarfs and be done with it. But each guy does have a moment to shine and does so. Mike Strecher plays Benjamin with some nice comic touches. Michael Schafer's Caleb is quite energetic and exuberant. Daniel, as played by Jaime Rodriquez has some goofy fun and lots of scrapping with brother Ephraim, created by Michael Alonzo. Alonzo has a nice dance solo in Act II.
Jon "Wes" Middleton butts heads well as the feisty Frank. Kurt Sutter has the meatiest role outside of Adam, and is quite charming as Gideon, the baby brother who figures out the world faster than others. Sutter has several nice musical moments with others, and brings out the emotions of the moment whenever he is involved.
All of the brothers do well in the social dance and in the acquisition of their wives. The gents never break character, and are always engaged in what's going on (aside from a few peaks at the audience).
The brides are as polished as the brothers, a smidge more realistic, and less cartoonish. It is a nice balance. The girls have a lot less to do than the boys, but they work very well as a group, and the few lines they have on their own, they each work in a distinctive and fun way.
Hannah Lane's Ruth is sassy and fun. SarahAnn Sutter's Dorcas is direct and sincere. Ellen Whatley's Liza always has her finger on what the girls should be worried about with genuine earnestness. Alice, as played by Heidi Erickson-Lewis gets lots of laughs with Gideon. Sarah, brought to life by Alyssa McClendon rallies the girls into action with great intensity, and Jessica Gibson's Martha is not going to get left out of anything exciting. The ladies do very well together in group scenes and it's a shame they don't have more to do. Be sure to watch their very brief courtships. The ladies also do well in the dance sequence working with two partners.
Seven Brides for Seven Brothers is not the greatest piece with its awkward structure, lack of drama, tension, and moral resolution; however, this production of the show does everything it can to fix these flaws and does so pretty darn well. Don't expect the movie, but do expect a very energetic performance by a group of eager artists who are clearly having fun. This is show is well supported by the community.
REVIEWED BY: Clyde Berry
ASSOCIATE THEATER CRITIC for John Garcia's THE COLUMN
Gail Crump's set design is brilliant. Crump has made several wagon units that are used on all sides, split open, and are two stories. These wagons move quickly, quietly, and are nicely dressed. If it were not for his design, this production would not be in the shape it is. A few pieces at the top don't have quite the same amount of detail/distressing work, but they are used the least and soon disappear.
Betty Ann Barrow's costumes are lively and appropriate. The brides and brothers have two distinctive and effective looks that help give each one their own identity. Although I do wonder why only Adam has leather and fur, and not his brothers. The townspeople all look like Townies, but only have one outfit. While the brothers do have jackets for winter, no one else seems to. But then, the time and seasons pass unnoticed in the script, we even have a baby born. Doing the nine month math on the baby doesn't pan out either, but that's a flaw in the writing.
Musically, the production is strong as well. Christopher Redden was the music director, and it seems that there was created music tracks used for the performances. I'm not sure I enjoy listening to a pre-recorded overture, but the scene change music was nice to have. Michael Rausch did well as vocal coach. "Lonesome Polecat" was my favorite number for the men, but there were several nice trios and duets that were quite lovely. Again, a well prepared cast who does not seem nervous about what they were trying to do.
This community production is truly the work of the town and families who have all pulled together to make this difficult show come together. Schoolmates pulled in friends, and entire families are involved both onstage and off. While some of the boys are a bit young to be suitors and competition, there is a great deal of energy brought forward by the young cast. It is this energy, eagerness, and smart direction/tech that makes this production a success, and a sold-out run as well.
Nicholas Long plays Adam Pontipee, the eldest brother and bull headed man. Adam has a beautiful voice and nice presence. While the script makes his character a bit one-note until the last few pages, Long fights to make Adam a likeable grump. He could be a bit more woodsy-gruff at times than simply stubborn, so that he can come around a bit more at the end. It also doesn't help that the new numbers added in this stage version are introspective songs with little action, but he does well with his `parking and barking'.
Long has good chemistry with Milly, played by Mandy Hilliard Rausch. Rausch has equally oddly written, unrealistic scenes where meals appear out of nowhere, and cabins are magically cleaned. She compensates well, and makes Milly the most grounded character in the piece.
The challenge for the gentleman playing the rest of the Pontipee brothers is balancing the rowdiness with creating an individual personality. It would be easy to make these guys the Seven Dwarfs and be done with it. But each guy does have a moment to shine and does so. Mike Strecher plays Benjamin with some nice comic touches. Michael Schafer's Caleb is quite energetic and exuberant. Daniel, as played by Jaime Rodriquez has some goofy fun and lots of scrapping with brother Ephraim, created by Michael Alonzo. Alonzo has a nice dance solo in Act II.
Jon "Wes" Middleton butts heads well as the feisty Frank. Kurt Sutter has the meatiest role outside of Adam, and is quite charming as Gideon, the baby brother who figures out the world faster than others. Sutter has several nice musical moments with others, and brings out the emotions of the moment whenever he is involved.
All of the brothers do well in the social dance and in the acquisition of their wives. The gents never break character, and are always engaged in what's going on (aside from a few peaks at the audience).
The brides are as polished as the brothers, a smidge more realistic, and less cartoonish. It is a nice balance. The girls have a lot less to do than the boys, but they work very well as a group, and the few lines they have on their own, they each work in a distinctive and fun way.
Hannah Lane's Ruth is sassy and fun. SarahAnn Sutter's Dorcas is direct and sincere. Ellen Whatley's Liza always has her finger on what the girls should be worried about with genuine earnestness. Alice, as played by Heidi Erickson-Lewis gets lots of laughs with Gideon. Sarah, brought to life by Alyssa McClendon rallies the girls into action with great intensity, and Jessica Gibson's Martha is not going to get left out of anything exciting. The ladies do very well together in group scenes and it's a shame they don't have more to do. Be sure to watch their very brief courtships. The ladies also do well in the dance sequence working with two partners.
Seven Brides for Seven Brothers is not the greatest piece with its awkward structure, lack of drama, tension, and moral resolution; however, this production of the show does everything it can to fix these flaws and does so pretty darn well. Don't expect the movie, but do expect a very energetic performance by a group of eager artists who are clearly having fun. This is show is well supported by the community.
REVIEWED BY: Clyde Berry
ASSOCIATE THEATER CRITIC for John Garcia's THE COLUMN
2 comments:
Heidi my love,
Cody and I went and saw this on sunday. it was just so much fun. Congratulations on such a great show!!
Name in the REVIEW!!!!
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