Much More

The Fantasticks – Citadel Theatre

Nearing the conclusion of their seventeenth season, a fantastic achievement of its own, one of Chicago’s most reliable suburban theatres presents a gorgeous production of an American musical theatre classic. This little gem premiered at Greenwich Village’s tiny Sullivan Street Theater back in 1960. It went on, not only to become the world’s longest-running musical (playing 42 years and logging in a staggering 17,162 performances), but to become the most widely-produced musical in the world. With its intimate tone, pure poetic story, a gorgeous, lush score (demanding only a piano, harp, perhaps a bass and some percussion accompaniment), an eight-member cast and very modest technical requirements, this musical is a favorite among professional, regional and educational theatres, alike.

The story is simplicity itself. Two young people, Matt and Louisa, are in love, but their feuding fathers, Hucklebee and Bellomy, have built a wall between their properties to keep the children apart. In actuality the parents are the best of friends, and they’ve been planning their children’s marriage for years. Using reverse psychology, the fathers trick their kids into secretly meeting, falling in love and pledging to marry. But to insure that it really happens, the parents hire El Gallo, Henry and Mortimer, a small troupe of actors, to stage a mock abduction, with the idea that Matt will defeat the villains, win Louisa’s undying devotion and the parents will be able to be friends again. Everything works out as planned in the romantic moonlight but, in Act II, the sun’s harsh reality uncovers everyone’s flaws and insecurities. The lovers split up and this time the parents really quarrel and separate. Only when they’ve all learned their individual lessons do they reunite, battered and bruised but wiser for the experience. 

Loosely based upon Edmund Rostand’s play, “Les Romanesques,” Tom Jones and Harvey Schmidt’s allegorical musical draws widely from a number of other plays and theatrical styles. It borrows elements from the mythical tale of Pyramus and Thisbe, Shakespeare’s “A Midsummer Night’s Dream” and “Romeo and Juliet.” It lifts the concept of an all-knowing narrator from Thornton Wilder’s “Our Town” and the exaggerated staging of Carlo Goldoni’s “A Servant of Two Masters,” during which, as with plays by Bertolt Brecht, the fourth wall is broken and characters speak directly to the audience. There are also elements taken from the Medieval pageant wagons, commedia dell’arte, Japanese Noh drama and English Music Hall and Pantomime theatrical traditions. 

For this production, guest director Pat Murphy, who guided such Citadel hits as “Oliver,” “Light Up the Sky” and the spooky mystery drama, “Deathtrap,” presents a respectful version of this classic musical. The story and characters are all the same as in the 1960 original, although there’s a bit of additional dialogue and scenic material and some more politically correct words used. The set is essentially the same, but talented scenic designer Eric Luchen has expanded the basic platform flanked by supporting poles and simple curtain. He’s added strings of carnival lights, shredded green draperies to represent the glade and lots of old trunks and wooden crates to create different playing levels. Emily N. Brink’s costumes are true to the Schmidt and Jones’ original designs. El Gallo, the Spaniard, is dressed all in black, Matt and Louisa are in innocent pink and blue and the two fathers appear in colorful, clownish costumes that reflect their personalities. Diane D. Fairchild lights the show appropriately romantic in Act I and boldly revealing in Act II. 

The real beauty of Schmidt and Jones’ magical musical is its simplicity. The clean, uncluttered naivete of this production is just the way it was first presented at the Sullivan Street Theatre. As Robert Browning once wrote, “less is more.” Without any extra embellishments, Jones’ story speaks directly to the heart; accompanied simply by piano and harp, Schmidt’s score and Jones’ poetic lyrics resonate with the soul. It’s difficult to improve upon perfection.

That said, the vocal power and majesty of this production can’t be beat. Aurora Penepacker is perfection as Louisa. This exceptional, stunning young actress, who resembles Sarah Hyland of “Modern Family,” has the clear soprano voice of an angel and moves gracefully and confidently through this love story, bringing the audience along on her journey toward enlightenment and maturity. She’s matched by boyishly handsome, slightly overly-enthusiastic, Jonah Cochin as Matt. This young man, who sings nicely and acts with power, has a long future ahead of him. Mr. Cochin plays Matt as a cocky, over-confident boy, at first. Not completely sure of himself, he rises to the occasion during Louisa’s abduction. Then, after the world hurts and humiliates him, he emerges as a stronger, more humble young man by the end of the play. Louisa’s “Much More,” Matt and Louisa’s gorgeous duets, “Metaphor” and “Soon It’s Gonna Rain,” as well as their eleventh hour ballad, the breathtaking “They Were You,” are this production’s musical highlights.

Brian Hupp has that pure, rich baritone that defines El Gallo. This tall, handsome, lithe young actor, who looks great in Ms. Brink’s Spanish-inspired costumes, is a combination of Inigo Montoya and Zorro. Displaying perfect diction and vocal clarity, Mr. Hupp’s slow, dramatic pacing works nicely, at times. The gentleness behind El Gallo’s narratives is a good choice, particularly his “There is a curious paradox” speech, and his musicality is exceptional. Mr. Hupp’s gorgeously sung “Try to Remember,” his rousing, tongue-twisting “It Depends on What You Pay,” as well as his duets with Matt, “I Can See It,” and Louisa, “Round and Round,” are superb and would make Schmidt and Jones proud.

As the two fathers, Bill Chamberlain was born to play the befuddled Bellomy, Louisa’s father. Fussy, meticulous and thrifty, Mr. Chamberlain brings a fidgety quality to the role that’s charming. John B. Boss’ Hucklebee is vocally impressive and full of bluster. Together these two actors complement one another, and their duets, the “Never Say No” tango and their soft shoe-tempo “Plant a Radish,” are lots of fun. Henry Michael Odum and John Benischek provide many laughs as Henry, the Old Actor, and Mortimer, the Man Who Specializes in Death Scenes. They bring the “Abduction Ballet” onto its toes and provide dark humor within the various scenarios of “Round and Round.” Kristina Meima displays a dancer’s agility as a wonderfully lithe and limber mime, simply named the Mute. Seeming to almost float through the air, this young actress ably provides the props and necessary assistance for El Gallo and the other characters.

Pat Murphy’s production of this American musical classic is dazzling and dreamy. Based upon the original production by Tom Jones and Harvey Schmidt, with its intimate, less-is-more style of presentation, is as perfect as can be. This production features the same beauty and intimacy of the original 1960 version. Conductor/pianist Talar Khosdeghian’s onstage instrumental quartet sounds lush and full, particularly Michael Maganuco on harp. And with so much talent giving their all on the Citadel Theatre stage, this loving production is simply and truly “Much More.”

Highly Recommended

Reviewed by Colin DouglasPresented February 7-March 8 by Citadel Theatre, 300 South Wakegan Rd., Lake Forest, IL.

Tickets are available in person at the box office, by calling 847-735-8554 or by going to www.citadeltheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com