Review: FRECKLE at Crystal Theatre

On Friday, October 2nd, I had the pleasure of my first experience at Crystal Theatre in Norwalk, CT, seeing a phenomenal original musical called FRECKLE! This musical comedy takes some unique and unconventional stylistic choices, all of which work perfectly! With book, music, and lyrics written by Michael Burgess, this show is based on a true story about Michael Burgess and stars Michael Burgess as Michael Burgess. Michael Burgess is also the musical director, Costume Designer, and stage designer. The striking choreography is by Katrina Perkins and Jennifer Ellyson. The impressive set with various moving parts is constructed by Dom Lettera. The stellar cast all radiate positive energy, showing that they are having a lot of fun up on stage, as the audience enjoys watching them perform!

While Crystal Theatre puts on various children’s performances, do not mistake this for a stage adaptation of a Judy Blume book called Freckle Juice. It is quite different from that story.

Kellan Schult plays a highly entertaining narrator who successfully conveys a wide range of emotions, often breaking the fourth wall. He utilizes every part of the stage while telling the story. Part of what makes this character so hilarious is that he often says something completely over-the-top with a totally serious tone. He wears a sparkling purple jacket, reminiscent of legendary professional wrestling manager Oliver Humperdinck. His narration is often echoed or responded to by three Soul Girls who generally are on stage right, brilliantly performed by Abby Desyr, Megan Brown, and Liz Buonicore. The Soul Girls make an excellent trio whether singing, dancing, commenting, or adding to the narration. They strongly harmonize with each other, with excellent stage chemistry, sharply punctuating Kellan Schult’s spot-on narration, creating maximal entertainment impact.

On stage left, members of a talented live band perform on some of the songs. The band members  include Mike Ruotolo on drums, Enrico Ruotolo on guitar, and Brian Blackmore on bass guitar. They are not merely a band for this show, but are members of an official band called “Two O’ Clock Courage.”

The music is mostly in a rock style some songs having a 1960s vibe. There is one song called “Rosalinda” that instrumentally reminded me of “Monster Mash,” while another song called “Go” has a riff that reminded me of “I Will Follow Him,” by Little Peggy March, but much heavier. The mid-1990s alternative sound is also present in that the rhythm and verses on an earlier song called “Whoah” melodically and stylistically reminded me of the verses on DC Talk’s song  “Like it, Love it, Need it.” I greatly enjoyed all these musical numbers.

Michael Burgess bravely makes himself very vulnerable to the audience as he exposes many personal elements of his life, including the perception of having hit rock bottom. At one point, it seemed that Murphy’s Law, “Whatever can go wrong will go wrong,” applied to Michael Burgess. Trouble with his marriage, his small business, finances, and band members moving away all seemed to hit him on or around the same time, a time that we dreadfully recollect under the phrase, “during Covid.” He was even placed into a mental institution, a bad one, where the patients were asked whether they planned to kill themselves. To his credit, he emphatically told them no, with a tone indicating that the question itself was ridiculous, Despite the metaphorical lemons that were thrown into Michael Burgess’ life, he made lemonade through his music and through this musical.

One number that I found highly amusing included cast members holding signs that either read, “Trust the Science,” or “Covid is not Real,” which shows how, in retrospect, people were passionately having the wrong argument in citing either of those mantras. Covid was totally real, yet much of the alleged “science” that was being marketed through massive propaganda, like the six feet separation rule, was later denied by the very people who many believed started the claims. Something I was not aware of, which I also found fascinating, was that there was a law in the state of Connecticut that any barber who cut hair during Covid, in Connecticut, risked losing his or her license. I also was not aware that during Covid, the demand on unemployment was so high that claims were being denied, for no other (officially stated) reason.

The central antagonist is named “Her,” a woman who represents Michael Burgess’ now ex-wife. Bridget Araujo excels in this role, both with acting and singing, a character chronically complaining that whatever situation was at hand was not what she signed up for. Bridget Araujo, despite playing a role that was designed not to be likeable, is a highly likeable performer in this show, showcasing her powerful vocals in a duet with Michael called “U + I,” with the Soul Girls on backing vocals.

In addition to the original songs, Michael’s family likes to karaoke, so several karaoke numbers were also performed, highlighted by “What’s Up,” by 4 Non Blondes. Along with other musical numbers, this also showcases the strong vocals and powerful stage presence of Linda Gerada, Elisa Uhrynowski, Margit Buonicore, Dana Yeminy-Soto, and Eileen O’Dea who portray Aunt Linda, Rosalinda, Kelly, Amanda, and Monica respectively.

Andre Soto and Dana Yeminy-Soto are naturally excellent on stage together, Andre Soto as guitar guy with Dana Yeminy-Soto as Amanda, the cousin of Michael who Michael also recruited as his female vocalist. With Michael and the Soul Girls, they perform my favorite song from this musical, “Splash.”

John Wrobel strongly portrays Mbur (pronounced “ember”) a slick character who seems to bring out the dark side in Michael, yet is there for Michael when many other people Michael trusted were not, or at least, that is what Michael seemed to perceive. Of course, a devious manipulator or abuser is highly skilled at making his or her targets feel isolated apart from the abuser, especially when capitalizing on emotionally weak moments. Mbur is essentially the personification of dark self-destructive emotions that are best to pray away and replace with positivity from the moment they enter the mind.

In some expository flashback moments, Benjamin Medina portrays a convincing Young Michael. Other young performers who shine in this show include Jaylin Natale-Svelnys and Mayaliz Figueroa who shine as “the girls.”

Brook McHugh, Sandra Vallati, and Katrina Perkins are highly entertaining, comedically, as patients in the mental hospital, maximizing those roles, as well as their other roles, including being among the dancing skeletons with Jennifer Ellyson and Emily Richards who also shine as hair stylists.

David Piniero and Charles Peck are both cast in numerous roles, using their acting talents to add to the quality of the show.

It was wonderful seeing Dom Lettera and Ruth Lettera on stage. Dom portrays a police officer and a lawyer while Ruth portrays a doctor at the mental institution. Both are highly convincing in these roles, totally selling their respective characters and lines with absolute conviction.   

The show makes a statement, something to the effect of that you don’t realize how blessed you are until everything is taken from you. I found this to be a very positive takeaway message about being grateful for all that we have, an important reminder. I can relate in the context that I often forget to be grateful for my health, taking it as a given, until I catch a cold.

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