Review: The World Premiere of THE PRINCIPLE WIFE is Compelling and Nuanced

THE PRINCIPLE WIFE at the Covey Center for the Arts is the world premiere of a new musical that proves to be a compelling, nuanced treatment of the human condition.  It deserves broad recognition and success as it moves forward in its imperative future life.

The show has had a robust development cycle with workshops or staged readings at BYU, the University of Michigan, and USC; two staged readings at Pasadena Playhouse (this year’s Tony winner for regional theatre), one at Larry King’s home, and another at the American Heritage School with Danny Glover and Cedric the Entertainer as key participants. 

Danny Glover actually attended this reviewed performance in person, welcoming the audience with personal glowing remarks about the musical.

THE PRINCIPLE WIFE (book and lyrics by Taylor Vaughn and Mark Greenhalgh, music by Jonathan Keith) dramatizes the history behind the principle of plural marriage practiced by some members of The Church of Jesus Christ of Latter-day Saints in the 19th century (in contrast to more common portrayals of Mormon fundamentalist polygamy today).  The fictional story is about southern Utah settlers Benjamin and Rebecca Tanner, who are struggling in their attempts to raise an apple orchard and provide for their family.  When they are asked to welcome a second wife to their home just as Rebecca’s former beau arrives from the East, the potential consequences of their impending choices loom over their lives.  

This subject matter is incredibly intriguing, and the circumstances are inherently ripe with drama and raw human emotion.  It is quite frankly mystifying that no one has previously attempted to tell this history on stage or film.  Regardless of any connection or lack thereof we may have with the place, culture, or religion, it’s impossible not to connect with the plights of the characters and our shared humanity. 

The writers demonstrate abundant sensitivity without sugarcoating or shying away from the potentially uncomfortable.  They have also made a conscious and very successful effort not to force religious dialogue in a preachy, cheesy manner.  Instead, faith is a motivating factor for the characters that is not ignored (as it is a key element to understanding their decision making) and treated respectfully, but it also does not overwhelm the narrative or feel in any way like a veiled proselytizing effort.  This is a difficult balance to make, but they clearly know what they’re doing in this area.  It’s not likely that any audience member regardless of background will feel alienated or offended.  

The dialogue is expertly written, the characters are believable and loveable (even the so-called antagonist), and the plot lines are realistic and captivating.  The score is beautifully imagined and thoughtfully constructed with gratifying melodies and haunting lyrics.

The superb 20-piece orchestra, conducted by Jay Richards, provides lush live music that elevates the entire experience. 

Director Tanya Behunin has created natural, pleasing staging and guided the accomplished cast to plumb the depths of their souls, digging deep into complex feelings and heartfelt honesty as they act and sing with great skill.   

2019 National Jimmy Award winner for Best Actor, Ethan Kelso, is a genuine and generous Benjamin Tanner. Equity members and real husband and wife Twyla Wilson as Rebecca Tanner and John Donovan Wilson as Erastus Lowe masterfully pilot the dramatic beats of their characters’ relationships. 

Fellow Equity member Erin Wilson’s performance as Sarah Bradshaw is bitingly hilarious yet tender.  Cameron Orme and Coleman Higbee are also enjoyable as her sons, Jacob Bradshaw and Joshua Bradshaw, respectively.

Mattie Grace is a wistful Elsa Hendervroggen with a sweet nature and singing voice. Christopher Higbee as Bishop Mcguire and Julie Webb Burgess as Vilate Mcguire affectionately bring to bear parental affection as they advise.  All three have conquered their accents impressively.

The choreography by Jamie Kalama is unassuming, period appropriate, and well-integrated.  Erastus’ solo set during a town dance, “A Better Time,” is arrestingly staged.  A full-on dance number with Benjamin and the Bradshaw boys called “Part of a Team” is refreshing and fun (though it would start a little less abruptly with some more movement leading into it).   

The set by Jay Richards includes multiple fantastic pieces that are substantial and eye-pleasing, especially the Tanner home exterior and interior.  (The leaves on the tree that's spotlighted at the front of the stage don’t seem to match the rest of the set in style and could be improved.) The centerpiece of the scenic design is a painterly backdrop of the red rock desert that is both useful in communicating setting and aesthetically pleasing.  It comes to life under warm red lights in transitional moments that are quite breathtaking.  Such lighting choices by Darren Maxfield add wonderful touches across the scenes.

The costumes by Jannette Lusk-Unterborn are functional, accurate, and often lovely, matching the warm color scheme.  However, with the exception of weather-specific additions such as shawls and coats, each character essentially only wears one costume throughout most of the show, which can lead to monotony in the visuals.  This time period in particular lends itself to several simple and inexpensive ways to change up the looks, including additional vests for men and aprons for women.  In addition, full new costumes for at least each act if not each large time jump, would make a big difference.  The hair and makeup design by Mckenna Hoather is top quality, realistic-looking, and also helps communicate the passage of time.

While most of the musical flows well, there are some small nips and tucks that could help with pacing.  For example, the fantastic opening number (one of the best in the score) continues after an interruptive scene change to convey a passage of time and birth of children.  However, this additional piece of music impedes the crucial momentum of the show’s opening, especially since all the same information is already communicated even better through the next two scenes. 

In general, the first act is very well paced and extremely engaging with its narrow focus on the coming of the Bradshaws to the Tanner home, but the second act does not fare quite as well due to its divided attentions, which become a little unwieldy and reduce the momentum.  Elsa’s inclusion feels more superfluous than it should, and the threat from the government could hang over the proceedings with higher stakes.  Some streamlining of scenes and plot points is advised to focus on the most emotional through lines. 

It would be a tough call and perhaps not the right choice, but it would be worth considering removing Elsa’s character completely and concentrating entirely on additional twists and turns in the government subplot to capitalize on the emotional connections the audience has already made in the first act.

A careful reevaluation of the music in act II would be wise to ensure it best kindles and keeps the audience’s interests and empathies.  The act includes an overabundance of ballads, which work well to illustrate internal conflict but can make plotlines drag and dull the edge of external conflict. 

For example, as the story is nearing its close (and after multiple slower numbers), the wives’ love for one another is examined and shared through dialogue in Elsa’s room, then soon after in song as they gather for dinner, and then again in the following scene at the train station through yet another similar sounding song.  Perhaps they could instead sing a more joyful piece in her room when the feelings are fresh and imminent, which would allow the dinner scene to immediately begin at the visitors’ arrival without the need to repeat.  “How Do You Say Goodbye” would then feel more welcomed and emotional when it comes in the final scene. 

Throughout the show, but most evident in the second act, some of the songs are perhaps a bit long for a book musical.  Repetitive lyrics could be slightly culled in order to preserve precious stage time and maintain momentum.  In addition, counterpoint is rarely utilized in this score, which is surprising and even disappointing in a story such as this with multiple main characters.  A method to reduce time and increase excitement would be for them to sing in counterpoint with one another rather than slowly turn by turn in every instance.

In addition, narration is used at the beginning and end of act II but nowhere else in the musical.  This feels very out of place, and the information included could be incorporated in a book scene instead with further thought and creativity. 

(One minor content note: There does not appear to have been a railroad line in southern Utah, which is the hinge of several plot points and scenes.  These are not impossible to adjust for historical accuracy, utilizing wagons in place of trains.)

The writing of a new musical must meet many needs, and elements such as pacing and the kinds of details discussed here are always the last to be honed and refined because it’s impossible to do so until the piece is fully staged in front of an audience.   This show is exactly where it should be at this stage of development, and it will be exciting to see how it continues to mature. 

Should you see THE PRINCIPLE WIFE in its current iteration at the Covey Center?  You undoubtedly should.  Not just to support a talented creative team in a worthy endeavor, but to take yourself on an enthralling journey in which you’ll deeply feel.  You may even find yourself in certain moments crying without fully knowing why simply because you care about the characters and their struggles just that much.

THE PRINCIPLE WIFE plays through July 31, 2023. For tickets, call the box office at 801-852-7007 or visit www.coveycenter.org.  For more information, visit www.theprinciplewife.com.  

Photo Credit: THE PRINCIPLE WIFE

 

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