Review: BIG FISH at Candlelight Music Theatre

Aisle Say's most recent review was at DE Theatre Co's OTHER WORLD, the largest and most technically challenging production in their 45-year history. The budgets of that show versus the cost of Candlelight's BIG FISH are as antipodal as Mt. Kilimanjaro is to Brandywine Park's Monkey Hill.

DTC paid for engineers and contractors to raise the stage to insert two turntables. Breathtaking CGI. The mind-bending costumes were out of THE LION KING. The entire creative crew had significant Broadway resumes. There was an 8-member live band. It was the largest cast ever at DTC. One of the members was in a powered wheelchair, resulting in new construction to conform to ADA. The cast was AEA, meaning gargantuan expenses. The Wilmington hotel bill for them was $150,000. (They also rehearsed in NYC). Aisle Say is throwing out a number north of $2million for this 4-week production.

Now we come to Candlelight, one of the few dinner theatres in the nation, almost a dinosaur in live theatre, with a profit margin as wispy as a cirrus cloud. (Aisle Say learned about clouds in 8th grade. Thank you, Mr. Lloyd).

Which show embraced my soul, which one inspired me, which one made me cry? The beautiful dialogue - at times heart-wrenching - is always aspirational. Aisle Say had no expectations going into opening night. I had never heard of BIG FISH. And that's remarkable for I have written, produced, directed, acted in or reviewed at least 1000 productions!

Creative people see a lot about themselves in BIG FISH. I, perhaps more than some, for I am estranged from my children. I was the self-anointed, grandiose Big Fish of my family and I failed in so many ways.

Director/Choreographer Devon Sinclair speaks truth to power in his "Director Notes" and is a good primer before curtain should you, like most, not know the plot.

This is an exquisite show. The cast in outstanding. In every scene, whether it be dialogue or dance, the actors pour out their hearts and show us "what I do for love".

The protagonist Ed (Bryan Jeffrey) is a prodigious talent. While his singing and dancing in last year's' AIN'T MISBEHAVIN' were paramount, his acting and interpretation of Ed shown forth. Ed's opening number, 'Be The Hero' sets the dynamic with son Will (Brennen Savon Malone), who has issues with Dad. Ed is pure Pollyanna. The eternal optimist. 'Follow me. Believe in me. It will all turn out'.

The family doesn't know what is real or unreal about their father. Will certainly can't figure him out and sings 'Stranger'. 'The River Between Us', a duet by the two, is another tear jerker for those with 'family' issues; reminiscent of, but a tad more evocative, then the male duets in 'A Little Night Music'.

Sometimes Ed delves into a fantasy world. (Those scenes with the Witch (Alexa Wilder, allied with the production number "The Swamp' and the Mermaid (Christine Ann Gilbert) are wondrously staged and flow seamlessly with the other 'reality' sequences).

Candlelight's force of nature, a/k/a Tiffany Dawn Christopher, is Ed's wife Sandra. She has enduring love for her perplexing husband. Their 'Daffodils', to end Act 1 was magically staged. I thought of the snow fall from fairy scene of The Nutcracker ballet. This time it was daffodils that rained down. Sandra's 'I Don't Need A Roof' showcased her personal angst akin to 'And I Tell You I'm Not Going' sung by the character Effie White in DREAMGIRLS. With that song, Tiffany took over my will and my will was hers.

The StoryTellers, (Hallie Berger and Tess Sinatra) introduce us to The Calloway Circus sequence. Aisle Say assumes Director Sinclair was fascinated with MOULIN ROUGE. That's the image that he envisioned and created. P.T. Barnum doppelganger - that being circus owner Amos (Jared Calhoun) - was hysterically over the top. What a cool role. And, Dr. Aisle Say, an orthopedist in another life, predicts Jared will never develop scoliosis, owing to the impressive back bend contortions he displayed. Never challenge Jared in limbo. You be toast.

Most choreography is derivative. If a theatre is staging OKLAHOMA!, WEST SIDE STORY, PIPPIN, etc., the choreographer studies the movie and recreates it. Ho Hum. With BIG FISH, however, Sinclair was inventive and imaginative. The end result was extraordinary; totally different from the norm one experiences in regional theatre. In his bio, Sinclair says he wishes to 'challenge standards'. Yep. Case closed.

And, in the end, on his deathbed, Will and Sandra understand that Dad is as controllable as the weather. He always had been. They accept it. They understand that Ed was there to inspire his child, to give him wings to go out on his own.

In his last words says, "a man is only as rich as the friends he has. Son, I'm a tycoon."

Aisle Say attempts to be chary with his words. Otherwise, my listeners doze off. Kudos to Julia Kershetsky (Musical Director), Jeff Reim (Scenic Designer), Moira Miller (Costumer), Co-Lighting Designers (Max Redman and David Marshall) and Mr. Wigs himself (Clayton Stacey).

The young boy playing Will's son (Jy'Reese Miller) was wonderfully attentive to his fellow actors and very expressive. He will remember this experience the rest of his life. Been there. Done that. 10 year old son Grant played Randolph in BIRDIE at Candlelight in the late 90's. He still talks about it.

Act I is too long by 15 minutes. The sauce on the salmon is too sweet. Candlelight remains the greatest value in DE theatre.

Gorgeous photos by Tisa Della-Volpe

Otherwise dear readers, that's all!

Greer Firestone's latest book musical is available for licensing Judy Garland "World's Greatest Entertainer" (judygarlandthemusical.com)

Greer Firestone's historical novel, Alexei and Rasputin is available on his site and on Amazon Alexei and Rasputin | Greer Firestone

Candlelight Theater Delaware (candlelighttheatredelaware.com)

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