BWW Reviews: Vibrant TARZAN at Slow Burn Swings High

A ferocious blend of acrobatic rhythm and percussion, with the sharp and crisp voices Disney once inspired back in the 1990s, all ring throughout the vines swinging across the stage of Patrick Fitzwater's latest large-scale phenomena. Tarzan, the stage adaptation of Disney's staple film, is Fitzwater's foray into the overwhelming special effects and third dimension of choreography, with performers flying and spinning just as wildly as the music he so adeptly provides. Fitzwater's Tarzan follows his first Disney hit, last year's sell-out Hunchback of Notre Dame, with more visual enrichment and performative wonder than the choir-led musical extravaganza, but nonetheless finds its way into hearts to sneak its creeping vines and take root.

Produced originally in 2006, Tarzan follows basically the same age-old plot that audiences have expected long before the Disney film came round. A boy is orphaned deep with the jungle, to be raised by a family of apes, and doesn't interact with mankind until Jane Porter and a group of explorers make their way into his jungle home. Minor differences from the film help stream-line Tarzan's growth and development, and even the youngest fans will enjoy the changes (elephant fans may be disappointed).

Fitzwater brings the jungle to life in a never-ending parade of spectacle- from the rising initial screen, audiences are splashed over with greenery and spinning apes in flowing costumes. As the jungle's life grows into larger, and sometimes more threatening, creatures, Fitzwater's performers each become larger than life, embodying the characters in new and bright ways. The stability and sincerity of the bonds between each of the leading players keeps Tarzan afloat in the swimming vines, helped along by Fitzwater's devious choreography and wise aerial stunts.

The titular jungle swinger is brought to form by Natale Pirrotta, whose dashing looks conceal his even smoother tenor. Pirrotta's performance switches between his purity and delicate family, to the ball of energy and humor he seems to the explorers. Fitzwater's entire show comes to life when he finally swings onstage, his powerful ballads working wonders, and his wrenching later numbers with Shonda L. Thurman's Kala piercing emotion.

Kala, Tarzan's mother figure, is brought front and center in the stage adaptation- Thurman is given the deepest numbers, from the opening 'Two Worlds' to her poignant 'You'll Be in My Heart (Reprise)' with Pirrotta. Thurman's Kala is given more challenges and difficulties than her film counterpart, challenges that never seem to bow Thurman - instead, we see a powerful figure raise Tarzan from his youth to the man he must become. The chemistry between Pirrotta and Thurman is undeniable, genuine, and pivotal to Fitzwater's vision.

Pirrotta's lovable love interest, the delightful Lindsey Corey as Jane Porter, may have been shrunken by the stage adaptation, but Corey is everything fans of Tarzan could hope for. From her late act one entrance in 'Waiting for This Moment', Corey is the smartest Disney princess, claiming the stage a step at a time as she discovers herself in the jungle. Corey and Pirrotta spin off one another, especially in the second act, in a show of love that enriches the child's heart in everyone. Alongside Corey is Tarzan's best friend and mentor Terk, played by the clever Darius J. Manuel. A mixture of absurd caricature and sincere sweetheart, Manuel is the lovable comic relief who can still manage to bring the house down in his soulful riffs during 'Who Better Than Me' and his act two opener 'Trashin' the Camp'.

It's a shame some performers were limited to smaller parts, such as Dante J.L. Murray's empowered Kerchak, or Christo Joseph Amygdalitsis' smart and sweet young Tarzan. Each of the supporting cast, down to the monkeys flipping and swinging between scenes, give Fitzwater an atmospheric, indulgent production.

And its in this atmosphere, the culmination of many moving pieces, that audiences will find themselves most lost inside. A cohesive set of creative technical ideas all blend well and, excusing sound echo-ey sound issues in the first act, the show seems to be a well-oiled machine you would expect in a Disney park, hundreds of workers backstage ensuring fluidity. New to the Slow Burn creative team, scenic designer Michael McClain makes smart use of moving pieces and scrims that are a change of pace for what many expect to see of Fitzwater's sets. His stationary centerpieces are simple and succinct, allowing focus to remain on the many dashing scenes and dances, but pure enough to enrich the settings. Thomas Shorrock's lights work wonders off of McClain's greens, and even transport scenes into a surreal emotional state, such as his red and purple specials during 'You'll Be in My Heart (Reprise)'. And in Rick Pena's many, many costume nuances, of the flowing gorilla outfits (showcasing small color differences in primary cast, kudos to Terk in particular) or his impressive flora/fauna display during the 'Waiting for This Moment' sequence, Pena does not fail to give south Florida a taste of the African jungle. Of course, no discussion of Fitzwater's Tarzan will be complete without mention of the dazzling aerial effects of 'Vertigo', who help the performers fly and fight and foster the imagination. At times during the opening sequence, the rushed score provided occasion for flashy use of the effects, but these were quickly mended by the seamless entrance of Pirrotta and the wondrous fight sequence of the first act onwards.

As the third season of Slow Burn Theatre Company begins at the Broward Center, with more spectacle and visual possibility to match Fitzwater's ideas and talent than ever before, the sky is the limit. Certainly, Tarzan is the most child-friendly show he's ever mounted, while still bringing the unreal theatrical quality he's famed for. Die-hard film fans and families will enjoy Fitzwater's Tarzan just as much as the veteran theatre-goers hoping to compare this to last decade's Broadway run - at the end of the day, start swinging to Tarzan before that last ticket inevitably sells out.

Tarzan runs at the Broward Center for the Performing Arts from Oct.19nd-Nov. 5th. Tickets can be purchased online or at the door.

Photo Credit: Rodrigo Balfanz

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