BWW Reviews: BRIGADOON at Dutch Apple is a Great Escape


Alan Jay Lerner's and Frederick Loewe's BRIGADOON, their third collaboration, first arriving on Broadway in 1947, is revived fairly regularly, and that's no surprise, for "when ye love something deeply enough, anything is possible. Even miracles." And people love BRIGADOON. What's not to love? The score is responsible for a couple of beautiful popular standards, particularly "Almost Like Being In Love." Good-looking men are wearing kilts. (If you don't think that's important, ask the women in the audience.) Pretty girls are dancing. There's a love story - two stories, really. There's suspense, there's supernatural, there's bagpipes. All right, maybe the bagpipes aren't a draw. But once you're there, the bagpipes are a necessity - this is Scotland, after all.

The movie version from 1954 is what most people know of the show, however, and that's a shame. For all of Gene Kelly's talent, Cyd Charisse's presence, and Van Johnson's being Van Johnson, the movie, fearing censors and time constraints, cut and rearranged the show into something comparatively unsatisfying. One of those reasons it's unsatisfying is that BRIGADOON is a dancer's musical, and much of the dance originated by Agnes De Mille, including some actual Scottish folk and country dance, was cut. Fortunately, Dutch Apple director Victor Legaretta and choreographer Kerry Lambert have managed to put the ballet back in, as well as the songs cut from the movie. The result is a visual feast for anyone who enjoys stage dance - Lambert's work is by no means a complete revival of de Mille's triumph, but it's some of the best theatrical dance choreographed in this area lately and worthy of a look. The restoration of the sword dance and funeral dance cut from the movie are integral to the show, and they are a real delight to watch.

The book for this show is thin. It's so thin it has anorexia. Two hunters in Scotland stumble across an enchanted village that only appears for one day every hundred years. No one who lives in the village can leave or the enchantment will disappear, but visitors can come and go, which is how the villagers know it's a hundred years later. The hunters visit, one of them falls in love with a village girl, and a disappointed suitor of the girl's sister decides to run away, risking the village's continued existence. The hunters go back to New York, the village disappears, and the one hunter is now disappointed in love. The story was familiar even before the show - there are similar German legends and similar fairy tales. It's the music and dance that make this show; if you tried to analyze the plot, you'd have holes like swiss cheese.

In the Dutch Apple's presentation, the music and dance do make the show: Lambert's choreography is fine, the dancers are excellent, and there's some absolutely phenomenal singing. Village lass Fiona MacLaren is played by Colleen Gallagher, a classically trained singer whose voice could carry any show she cares to perform in, with a soprano strongly reminiscent of Julie Andrews. Tommy, the mighty New York hunter, is Adam Clough, a baritone with a more traditional musical theatre voice that knocks his "There But For You Go I" out of the Scottish cricket field. And if Fiona's sister's beau, Charlie Dalrymple, has a voice that stops the audience dead with its range and its clarity, it may be no surprise that actor Patrick Massey is a trained opera singer with a bel canto delivery that needs no microphone. Also fine is Dutch Apple veteran Elizabeth Brooks as Meg Brockie, the village girl with a heart of gold and an overly friendly disposition towards the opposite sex. All full of piss and vinegar, and dead set on sex, she tears into "The Real Love of My Life" and the infamous (and infamously funny) "My Mother's Wedding Day" with gusto enough for two. Not surprisingly, it is Meg Brockie whose songs and personality are virtually erased from the film version - if the movie is the only version you know, you are in for a treat when you see the stage version.

Local favorite Paul Glodfelter plays Fiona's father as a good, sturdy Scotsman, and veteran actor Gerry Konjura, husband of current Rainbow Dinner Theatre star Sherry Konjura, is a very fine Mr. Lundie, school teacher and authority figure of the village, who makes the wedding scene bring a tear to many in the audience. Dancer Emily Thomas, playing Kate Dean, performs the funeral dance, which, like the wedding sword dance, is a show stopper.

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Marakay Rogers America's most uncoordinated childhood ballet and tap student before discovering that her talents were music and writing, Marakay Rogers finally traded in her violin for law school when she realized that she might make more money in law than she did performing with the Potomac Symphony and in orchestra pits around the mid-Atlantic.

A graduate of Wilson College (PA) with additional studies in drama and literature from Open University (UK), Marakay is also a writer, film reviewer and interviewer for the Wilkes-Barre (PA) Independent Gazette, science-fiction publications, and other news outlets, and is listed in Marquis' "Who's Who in America". As of 2014, she serves as Vice-Chair of the Advisory Board of the Beaux Arts Society, Inc. of New York. Marakay is senior theatre critic for Central Pennsylvania and a senior editor for BWWBooksWorld as well as a classical music reviewer. In her free time, Marakay practices law and often gets it right.

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