BWW Reviews: SCR's Revival of THE FANTASTICKS Gets a Magical Makeover

By: Jun. 02, 2013
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Despite its notoriety as the record-holder for being the world's longest-running musical---running an unprecedented 42 continuous years and 17,000-plus performances---THE FANTASTICKS, the 1960 Off-Broadway hit featuring music by Harvey Schmidt and book and lyrics by Tom Jones has never really gained the kind of fanaticism that, say, more wow-factor musicals have done so. Rather, the softer-edged show has been appreciated more for its lightness and poeticism, and has, understandably, also become quite a go-to staple among regional theaters and high schools across the world.

But in director Amanda Dehnert's new beguiling revival---now on stage at South Coast Repertory in Costa Mesa through June 9---the 50-plus-years old musical has received a clever, magical makeover, setting the piece in the midst of an abandoned, dilapidated amusement park called Rocky Point. This new conceit---filled with close-up magic, visual trickery, and vaudevillian references---has wonderfully spilled over into the show's staging, sets, costumes, and, yes, even the songs and characters, resulting in a refreshing new take on a, if I can be perfectly honest, previously kind of ho-hum show.

First mounted at Providence, Rhode Island's Trinity Repertory Company in 2007---close to nearby Warwick, which was the site of the real Rocky Point amusement park before it was finally shuttered in 1995---SCR's revisionist revival of THE FANTASTICKS takes on new vibrant life as an old-timey vaudevillian review that just happens to have a love story woven into it. Rather than making the show a polished period piece, the musical's characters now feel like lively ghosts haunting the turn-of-the-century remains of a once bustling destination (according to SCR's extensive program, the set---designed by Eugene Lee---incorporates actual pieces from the old Rocky Point park).

This awesome, inspired idea really works here, creating a new, intelligent airiness about the show that really amps up its personality and gives the show that extra bit of buoyancy it was missing. Suddenly the fourth-wall-breaking narrator, El Gallo (the charming Perry Ojeda) and his buddy/assistant the Mute (the mesmerizing Nate Dendy) are presented like early 20th Century magicians/carnival barkers enticing its audience to gaze upon The Players of their not-so-freakish sideshow. Inserted into the show are enjoyable bits of magic, which I won't spoil here if you haven't seen the show.

A throwback re-imagining of Penn and Teller (and, yes, the Mute is no mere magician's assistant either), the pair, more than anything, help the audience navigate through its allegorical story---the one factor of the show that hasn't changed---which finds a couple of neighboring fathers, Hucklebee (Gregory North) and Bellomy (Scott Waara) scheming to get their respective children Luisa (Addi McDaniel) and Matt (Anthony Carillo) to fall in love with each other.

Sure, the two kids are already gaga over each other, but their fathers have come to the conclusion that to ensure the two young lovebirds stay in love, they must be manipulated into thinking their fathers object to their union. Their love will be ever so much more stronger, they conclude, if their fathers appear to be "feuding" (you know, because kids are more attracted to rebelling or some convoluted junk of that nature).

Soon the two "dueling" fathers devise a plan to pretend to end the feud by arranging for the attempted "kidnapping" of Luisa by an acting pro so that Matt can "rescue" her---thus, forcing the two parents to drop their feud and support their kids' relationship. And what does every damsel in distress need? A handsome hero to rescue her, of course, thereby insuring that love will blossom.

In comes the dashing, enigmatic El Gallo (yes, our narrator) who offers the fathers different options for the "raping" of their daughter (the word "rape" here refers to the old Latin word for abduction, not the modern-day, violent meaning).

Proving the concept of "getting what you pay for," the fathers welcome the arrival of two "professional" actors that have been tasked for the job: Henry (the terrific Richard Doyle), a seemingly drunken hot mess armed with only clever, witty barbs, and his trusty, Native-American-garbed sidekick Mortimer (the hilairious Hal Landon, Jr., wholly different from his usual SCR portrayal of Ebenezer Scrooge), who's about as similarly dazed and confused. The two characters easily steal the show, much like two veterans of vaudeville, slapstick comedy would have done in its golden era.

To no one's surprise, the "kidnapping" is, by all intents and purposes, a success---resulting in Matt's easy victory over the three would-be abductors. Luisa is in love with her paramour more than ever, and both kids are happy to finally be open about their secret romance since their respective dads are now friends.

They pose for a jubilant family portrait. But, as the saying goes: always be careful what you wish for. (Or, as any Disney princess has ever had to learn the hard way---magic, dearie, comes with a price... and, sometimes, unexpected consequences).

Charming and cleverly staged, SCR's production of Dehnert's revision of THE FANTASTICKS is a welcome closer to the Tony Award-winning theater's impressive season. Historically, despite being too subtle and too steeped in its own farfetched metaphors, the show has always had an appealing "fantasy" quality about it. However, I feel as though this magical revival is the first to truly envision this fantasy quality as a sensical extension of the storytelling. A little stage magic can certainly go a long way, and here, it helps put the "fantastic" in the show's title. And though the story still sort of fizzles in the second half---something that magic can't truly make disappear so easily---much of the show remains winning thanks to its rather lovely songs.

In terms of its visual aspects, there is a timeless beauty to the purposely disheveled amusement park set that makes it feel like it's frozen in time, harkening back to a bygone, forgotten era of sheltered innocence and snark-free sentiments. The romanticism evoked by these antiquated forms of entertainment---particularly vaudeville and carnival sideshows---add a bittersweet context to the interactions of these antiquated characters. It's as if these human forms exist before our eyes merely as trapped apparitions---ghost figures from a long time ago that are still haunting these long-abandoned ruins.

I thought it was quite clever having the appropriately minimalist-sounding band---comprised of harpist Ellie Choate, percussionist Louis Allee, and musical director Dennis Castellano on piano---situated on one corner of the stage, sometimes becoming part of the stage action. And Jessica Ford's eye-popping old-school Cirque-inspired costumes (again, much of it purposely aged and weathered) and Jim Steinmeyer's cheeky "illusions" provide additional stage magic this show really needed.

But, frankly, we wouldn't really buy any of these clever new nuances if not for an ensemble cast that really sells the concept wholeheartedly. As the young lovers, McDaniel and Carillo are adorably saccharine, but, I must say, I truly fell in love with the cast elders, particularly the super-hammy Doyle and Landon, Jr., whose presence in the show is a non-stop laugh riot. I really wanted to give bickering daddies North and Waara a big ol' bear hug for being so effortlessly delightful, too. Ojeda, as El Gallo, is a fun ringmaster blessed with a beautiful singing voice and a great knack for engaging the audience.

And, in an unexpected twist, the enchanting Dendy, who plays the scene-stealing mute, is the show's most welcome presence and the true heart of the show. Without uttering a single word---yet saying so much with just the subtlest of gestures---this actor becomes a lovable instigator, allowing us to dive into the minds of all the characters. When all is said and done, this non-speaking character proves to be the most magical of all.

At times, many of the cast members not only break the fourth wall and interact with the audience, they also break the space-time continuum, with hilarious results. Incorporating site specific things in the dialogue (Costa Mesa, The Great Park in Irvine, and South Coast Plaza's Unity Bridge get shout-outs), the audience is, again, thrown for a loop.

A simple story now told in a very unique and interesting way, THE FANTASTICKS revival at SCR is worth a visit. The thrill rides may not be there, but at least the magic still lingers.

Follow this reviewer on Twitter: @cre8iveMLQ

Photos by Henry DiRocco/SCR. From top: El Gallo (Perry Ojeda) encourages Luisa (Addi McDaniel) to "try to remember," the mute (Nate Dendy) assists El Gallo (Ojeda) in a magic trick, a happy (?) family portrait; Mortimer (Hal Landon, Jr.) and Henry (Richard Doyle) arrive for the faux abduction.

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Performances of THE FANTASTICKS continue at South Coast Repertory through June 9, 2013. Tickets can be purchased online at www.scr.org, by phone at (714) 708-5555 or by visiting the box office at 655 Town Center Drive in Costa Mesa.



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