Review: FREAK THE MIGHTY at The Seattle Rep

Dear Readers, shows about overcoming adversity are not a new thing.  It’s pretty much a staple of many storylines.  But what has been coming up more and more are the shows about overcoming a physical adversity.  Of course there’s one of my favorites, “Hairspray” dealing with racism and body positivity.  There’s the recent “How to Dance in Ohio” about autistic teens at a school dance.  And then there’s “Kimberly Akimbo” with the teen girl who ages so fast she looks like she’s in her 60’s.  And what all these physical malady shows have in common is they strive to push those emotional buttons of ours.  And now along comes “Freak the Mighty” at the Seattle Rep, in conjunction with Cleveland Play House.  A new World Premiere musical that gleefully pushes those buttons to wonderful effect.  And while those buttons are pushed eliciting many a sniffle or tear in the audience, the show could use some tightening up to become truly mighty.

Based on the book by Rodman Philbrick, we open our show on Maxwell Kane (Netza Jimenez).  A 15-year-old boy who towers above all others in his class.  Partially due to being held back a few times and partially that he’s just a big, imposing guy.  To make matters worse, Maxwell is bullied and shunned since his father, Kenny “Killer” Kane (Wade McCollum) is serving time in prison for murdering Maxwell’s mother.  So, Maxwell lives with his grandparents, Grim and Gram (Christopher Gurr and Astrid Van Wieren) and spends most of his time down in his basement room which he calls the “down under”.  Enter Maxwell’s new neighbors Gwen Avery (Kanoa Sims) and her disabled son Kevin (Cornelius Kittrell), aka “Freak”, a name he gave himself since others would call him that anyway.  Freak suffers from mucopolysaccharidosis which basically means his organs grow faster than his body leaving him small and walking with crutches.  A malady that doesn’t seem to faze this young man with a huge intellect and imagination.  Maxwell and Freak form an unlikely bond which they’ll need to deal with the impending parole of Maxwell’s father, bullies, and of course high school.

The story is a solid one derived from a much-beloved book.  The musical is not as solid … yet.  With book and lyrics from Anthony Drew and music from Ryan Fielding Garrett the show has some rousing moments and tremendous potential.  But there were just some moments that relied too much on clunky lyrics and repetition.  Major case in point was the song “Better Off Without Him” that just had a few too many rhymes that were a reach and didn’t further the story, and then was reprised to open Act Two with even less to say.  Don’t get me wrong, there are many wonderful songs and moments in the piece, the show just needs to be tightened up to make all those moments pop.  Similarly, the staging from director Michael Barakiva and choreography from Patrick McCollum could use some smoothing out as some moments felt a little sloppy.

The performances, however, are top notch, but with some heavy hitters in the mix, it’s no wonder.  Some may remember Van Wieren as the original “Beulah” from “Come From Away”, and she’s just as wonderful and powerful here as a grandmother just trying to do what’s best for her grandson.  And she’s aided in this by her on stage husband Gurr as Grim, who counterbalances her perfectly and slays the audience with his stunning 11 o’clock number, “People You Have Met”.  Also, a familiar face, you may recognize Wade McCollum from his outstanding performance in “Ernest Shackleton Loves Me” (If you haven’t seen it, it was filmed, go find it).  And he’s only gotten better since then.  His voice soars into the rafters with a gorgeous richness and his character is equal parts thrilling and terrifying.  Pardon the pun, but a killer performance.  And I also need to mention the lovely Sims who beautifully portrays a loving mother and has her own killer pipes to convey it. 

But this show is nothing without compelling, talented leads and it’s blessed with two of them.  Jimenez brings in a heartbreaking sadness to the role of Maxwell and had the audience in the palm of his hand with the glorious build on his opening number.  Not only did the emotion and energy climb to an amazing crescendo but he managed to infuse that build with oodles of heartache and pain.  And then there’s Kittrell.  What he has created in this character is nothing short of mesmerizing.  This character he has crafted is funny, sweet, bold, and just plain fun and so entrancing you cannot look away.  And coupled with his fantastic voice, it’s truly a wonderful performance and one that will stick with me.

The show does need some help, but what new musical doesn’t.  But it’s also very much on its way to being a true winner.  And so, with my three-letter rating system, I give the World Premiere of “Freak the Mighty” from the Seattle Rep and Cleveland Play House a button pushed YAY-.  And who couldn’t use a cathartic button pushing these days?

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