Brigadoon - Goodman Theatre Chicago Friday July 25 2014
Goodman Theatre Chicago
This newly revised version of "Brigadoon" by the Goodman Theater of Chicago with direction and choreography by Rachel Rockwell has more magnificent moments than misses. With some fine tuning this will be a brilliant production with a revised and more logical book by Brian Hill.
Pre show welcome:
Firstly, theatre is an event and the Goodman Theater of Chicago does this in style. Their theatre is a testament to the legacy of the Great Chicago Fire 1871 and the rebuilding of Chicago. The foyers (translation "Lobbies") are spacious and welcoming. This is more appealing than the queuing up on the streets of New York. I presume the weather had a major influence in the design of the large foyers to encourage people to take comfort from the cold winters.
Secondly, the theatre itself has a lovely rich acoustic sound for musicals. The views from the seats appear without any obstructions. The stage is wide and the seats do not pass by the sides to restrict viewing - unlike other theatres.
Thirdly, the pricing of tickets is very reasonable and with sensational views of the whole stage! Not like some theatres where you get either an impeded view or a restricted view of the up-stage corners. If you cannot see into either of the upper back stage areas then ticket prices should be reduced to at least B or C Reserve!
Fourthly, the souvenir and book stand has very reasonable prices. Do take the opportunity to stock up on those magnets for souvenirs for your friends, family and self. Because of this I purchased more, unlike other venues where you may not even buy a single item. Think of the Getty Museum in LA that has a similar pricing policy to encourage further purchases.
Then there is the performance and finally the foyers again to allow you to mingle and savour your experience. John Truscott had a similar vision when he designed the interiors of the Arts Centre Melbourne to create this holistic experience. (Interestingly John Truscott won two Oscars for "Camelot" which is also by Lerner and Lowe.)
I normally do not focus on the above so much and feel it requires acknowledgement for creating such a fantastic experience in theatre attendance.
Pre show talk:
I was fortunate to be able to attend a pre show talk on Friday July 25th by the dramaturge Neena Arndt. She gave a comprehensive talk about the history of "Brigadoon" and contextualised the reasons for the original impetus for writing and for these revised changes. Neena also explained the old versus new version changes without giving the story away. She skilfully answered my questions, as I was not going to miss the opportunity to share this experience with friends from Australia who had been in the original cast.
Background information:
For those who have not read my reviews before I do not retell the story.
"Brigadoon" is a classical musical in my eyes. I have always adored it and was not disappointed. I have seen it at least twice and the film at least a dozen times. To give context to my comments I have seen a version with a cast of about 40 plus in 1969 by Cheltenham Light Opera Company (now CLOC) and another superb version by Whitehorse Musical Theatre in 1995.
Review:
"Brigadoon" was a fore-runner and may finally receive its recognition for it paved the way for other musicals with a theme of choice, think "If/Then" or the movie "Sliding Doors'.
The era when "Brigadoon" was written was after World War Two and people needed entertainment and hope. This musical provided both with a very serious message about how choices can determine our destiny. Whether these choices are personal, a clan or a country's choices. This revised version is timely in these times that I call the "Thawing War". The "Cold War" should be renamed the "Frozen War" and we have just had various temperatures in between. "Brigadoon" is an idealised heaven for some and hell for the character Harry.
"Brigadoon" also paved the way for "West Side Story" with the song of hope "Somewhere." People need hope and a dream and something to aspire to or for.
Consider too the era post World War Two: when soldiers returned with no counselling and to be told "to just get on with it." This historical context makes sense with Tommy Albright's behaviour, played by Kevin Early. He has an exquisitely rich baritone voice, and is classically handsome for this role. Though more on him later.
The opening is a scene of the Scottish hills behind a curtain of "vertical strands" curtain. I think these are called "Ball French Curtains" and look like a glamorous fly screen. This curtain will be used effectively throughout the show to change the mood and location.
Tommy Albright played by Kevin Earley and Jeff Douglas played Rod Thomas. They are lost and use a simple set to establish the mood of the musical in this prologue. Tommy appears to be more passive agressive and mentally unsettled than in other productions. This makes sense as he has returned from the war.
The setting is made up of a hessian silohuette in triangular shapes to cleverly create the highlands of Scotland. I then realised that it was not a backdrop but this clever image that was peeking through the curtains to welcome us into the theatre. The designs are very minimalist and remind me of the effective minimalism of Lincoln Centre's "South Pacific".
The musical improves dramatically and it is the ensemble opening that I think needs the some fine tuning.
The first ensemble number "Brigadoon" is beautiful choral and melodic. We hear them but do not see them.
This opening sequence "Vendor Calls/Down in MacConnachy Square" fitted the bill but looked empty. It either needs an extra four to six people to fill the space, or more movement or some more of the hessian scenery to create the silhouettes of triangular roofs of houses etc. I thought there was too much empty space and it was too flat to create the impression of the hills. Maybe they could use members of the orchestra as they do in later sections to fill the space.
I loved the Scottish accents in the singing though these could be consistent maintained by some actors throughout the entire duration of the show.
The lighting of this sequence was too much a blanket of light and highlighted the voids of space. There needed to be some light and shade to create more atmosphere of a mythical Scottish highland village.
The actors need to be really engaged in the activity at the market stalls. It seemed a bit twee at times with their relationships and encounters with customers or neighbours. There needed to be a real connection to heighten the atmosphere.
The costumes immediately stood out as too perfect for the 1746 era. There needed to be a bit of wear for the market holders and the customers. The costumes are beautifully made but look too nice. They need to be more lived in to show the differences between the types of characters.
"Waiting for My Dearie" showcases the magnificent and pure voice of Jennie Sophia who embraces the role of Fiona MacLaren. It is great to see the ensemble of ladies creating an feminine and genteel atmosphere of anticipation.
"I'll Go Home with Bonnie Jean" highlighted Charlie Dalrymple played by Jordan Brown's skill as a triple threat. He has a lovely voice and a charismatic charm for this role. He is excited as he is to be married and shares his enthusiasm with the local villagers. There is a robust and buoyant atmosphere created here by the ensemble.
"The Heather on the Hill" is the first duet between Tommy and Fiona. The singing is harmonic and beautiful. Though I feel that more space and pauses to elongate their moves between their relationship will build requisite tension. At times it seemed too rushed for Fiona to get away from Tommy. We did not have time to really revel in their developing relationship.. It was not 1946 but 2014 Facebook "check a message and run scenario."
The iconic moment of their realisation of mutual affection is the basket sequence when they both hold the basket down stage right. This reminded me of John Cranko's famous heart shape love pose from "Romeo and Juliet" premiered by Stuggart Ballet. I would love to know if this was choreographed intentionally to pay homage to John Cranko or was it a pure accident?
The singing by Tommy of this famous song started too loud for my liking. I think it should have been more cautiously approached by Tommy as it was 1946 in his time. The opening lyrics explain why it should be more a question than a demand.
"Love of My Life" focuses on the lusty Meg Brockie. If you had waited for a hundred years, I guess you too may be a bit frisky. Meg was played with sheer bounce, verve and lust by Maggie Portman. Very eager and assertive in her attentions to Jeff Douglas played by Rod Thomas. The pair work together to create a fun number than drives their story forward. I would have liked to see more lighting to differentiate the location of space inside and outside. Both have consistent accents and are self assured in their characterisations.
"Jeannie's Packing Up" is the ladies ensemble number that has a lovely feminine ritualistic atmosphere. The cast of ladies support the bride to be -Jean MacLaren played with confidence by Olivia Renteria. Her solo with the bridal veil is magnificently pure and poignant and the choreography pays homage to Agnes De Mille.
"Come to Me, Bend to Me" sung by Charlie Dalrymple is beautifully realised by Jordan Brown. The pas de deux where Jean covers his eyes is romantically appropriate and again drives the story forward without being a "filler" dance.
Fiona's father, Andrew MacLaren played by Craig Spidle tries to oversee the farewell between Fiona and Tommy. He plays his paternal role with Scottish assurance and confidence and great timing.
The farewell kiss is seen by Jean and where she stands does not look realistic from an audience's perspective. She needs to be in the appropriate line of vision rather than a "cheated cinematic mark" position. I did not believe that she could see the kiss from that angle. A minor adjustment will correct this important moment.
"Almost Like Being in Love" was beautifully sang and was at the right level. Though it would have seemed more impressive had "Heather in the Hill" been restrained a little more.
"The Entrance of the Clans" is a memorable moment that I will savour for many years to come. This neatly choreographed section includes two bagpipe players. Apparently this is the first time this has happened in the USA. We were fortunate to have bagpipe players in each of the productions that I saw in Australia.
This was a celebration and we were introduced to the tartan kilts and traditional outfits befitting a wedding. The costumes are exquisitely perfect but need to show they have been worn, cherished and stored for such a memorable occasion. The tartans were a bit too cartoon or cliche in their purity. They need the occasional patch, darn or dirt to show some 1746 non-Westinghouse machine-washed costume, but a realistic replica of the era.
The "Wedding Ceremony/Dance" was brilliant staged and executed to bring a lump to my throat. The passion of Charlie to naive confirm if he was now married brought a measured poignancy to the scene.
The celebratory ensemble dance is easily a highlight of this production with such talented dancers to honour the legacy of Agnes De Mille and the traditions of Scottish folk dance. The enchainments and group patterns were with a traditional vein. The great thing was that many danced well but also some danced better which demonstrated a social realism to the celebratory dance.
The ensemble created a wonderful atmosphere to support the wedding festivities.
The highlight for the whole show was the performance of Harry Beaton who provided a menacing objective of revenge, jealousy and anger throughout. His unwavering determination and desperation was exhibited by his brilliant display of his Highland fling and his sword dance. His "cutting the air" demonstrated sharp, crisp and definite lines with a ballon that showed mastery of his elevation.
The supporting dancers were impressive with their sharp moves. I loved the suspension created in the top of their leaps to create a photographic image of their technical and physical prowess as Scottish dancers in celebratory mode.
What I loved was that the dancers were in unison but more importantly showed that some dancers are better than others within their clan. It created a lovely honest realism to the choreography compared to the traditional "kick line" whereby precision is paramount.
The finale to Act One left us with a bad taste in our mouths and made us wet our appetite to quench our thirst at interval. This cliff hanger encourages the audience to talk about the journey of various characters and allow us to empathise with our personal favourite. Not a down-beat finish to Act One but more an enticement to continue to drive the story forward.
Act Two opens with "The Chase". This is brilliantly realised with the clever use of the curtains that paid homage to the original "A Little Night Music" and to "Into The Woods" with the trees. The lighting by Aaron Spivey finally brings to light what is possible with lighting design to create a mood. The projection design by Shawn Sagady is haunting, mysterious and menacing. This opening sequence resonates the desperation of Harry and the fear of the villagers that their miracle will end if Harry leaves Brigadoon.
The subsequent actions lead us to the poignant "My Mother's Wedding/Dance" by Meg Brockie and the ensemble.
The "Funeral Dance" by Maggie Anderson played by Katie Speilman is another brilliant moment with pure emotional response via dance. The dance and choreography pays honourable homage to both Agnes De Mille and Martha Graham.. The convulsive contractions are visceral and palpable. Her backward falls are sheer desperation and heartfelt. This is pure dance that drives the emotion of the story forward and allows us time to reflect upon her grief.
"From this Day On" sung by Fiona gives us further insight into her character and her journey. Sung with purity and honesty.
We are back in New York and the setting is a scrim curtain with a projection reminiscent of the colour scheme and design of the Mandalay Bay Casino ceiling. Tommy is distracted at his dinner/rehearsal for his wedding. He hears Fiona and his heart pines for her.
The order of "There But For You Go I" is more logically placed here with precision with the newly revised book by Brian Hill. Here we hear Tommy quite rightly determine his future and resolve decisively to return to Brigadoon ( if he can find it.) His passion is determined and paced accordingly. This moment would have been more passionate had "The Heather on the Hill" been less robust as we would have seen a more of a roller coaster of angst from Tommy.
The finale is well paced though the lighting for Fiona's entrance could have been a bit more alluring and build to create a majestic sweep of light. It gives us hope in these times that are still torn with unrest.
I loved the production and welcome its development to enhance the atmospheres to bring this musical to its just position as a major work as Brigadoon has inspired many other famous shows. I guess so underrated that a famous song was copied for another major musical!
A beautiful and underrated musical that deserves to be recognised for its place in musical theatre history for inspiring other musicals that had songs of hope - think "Somewhere" from "West Side Story" and the musical about choice currently playing on Broadway "If/Then'. This musical was the fore-runner for a musical about choice and was way ahead of its time. People in 1946 did not think about their choices as we have a vast range of choices today.
My choice is this show is a winner and has legs!
Pre show welcome:
Firstly, theatre is an event and the Goodman Theater of Chicago does this in style. Their theatre is a testament to the legacy of the Great Chicago Fire 1871 and the rebuilding of Chicago. The foyers (translation "Lobbies") are spacious and welcoming. This is more appealing than the queuing up on the streets of New York. I presume the weather had a major influence in the design of the large foyers to encourage people to take comfort from the cold winters.
Secondly, the theatre itself has a lovely rich acoustic sound for musicals. The views from the seats appear without any obstructions. The stage is wide and the seats do not pass by the sides to restrict viewing - unlike other theatres.
Thirdly, the pricing of tickets is very reasonable and with sensational views of the whole stage! Not like some theatres where you get either an impeded view or a restricted view of the up-stage corners. If you cannot see into either of the upper back stage areas then ticket prices should be reduced to at least B or C Reserve!
Fourthly, the souvenir and book stand has very reasonable prices. Do take the opportunity to stock up on those magnets for souvenirs for your friends, family and self. Because of this I purchased more, unlike other venues where you may not even buy a single item. Think of the Getty Museum in LA that has a similar pricing policy to encourage further purchases.
Then there is the performance and finally the foyers again to allow you to mingle and savour your experience. John Truscott had a similar vision when he designed the interiors of the Arts Centre Melbourne to create this holistic experience. (Interestingly John Truscott won two Oscars for "Camelot" which is also by Lerner and Lowe.)
I normally do not focus on the above so much and feel it requires acknowledgement for creating such a fantastic experience in theatre attendance.
Pre show talk:
I was fortunate to be able to attend a pre show talk on Friday July 25th by the dramaturge Neena Arndt. She gave a comprehensive talk about the history of "Brigadoon" and contextualised the reasons for the original impetus for writing and for these revised changes. Neena also explained the old versus new version changes without giving the story away. She skilfully answered my questions, as I was not going to miss the opportunity to share this experience with friends from Australia who had been in the original cast.
Background information:
For those who have not read my reviews before I do not retell the story.
"Brigadoon" is a classical musical in my eyes. I have always adored it and was not disappointed. I have seen it at least twice and the film at least a dozen times. To give context to my comments I have seen a version with a cast of about 40 plus in 1969 by Cheltenham Light Opera Company (now CLOC) and another superb version by Whitehorse Musical Theatre in 1995.
Review:
"Brigadoon" was a fore-runner and may finally receive its recognition for it paved the way for other musicals with a theme of choice, think "If/Then" or the movie "Sliding Doors'.
The era when "Brigadoon" was written was after World War Two and people needed entertainment and hope. This musical provided both with a very serious message about how choices can determine our destiny. Whether these choices are personal, a clan or a country's choices. This revised version is timely in these times that I call the "Thawing War". The "Cold War" should be renamed the "Frozen War" and we have just had various temperatures in between. "Brigadoon" is an idealised heaven for some and hell for the character Harry.
"Brigadoon" also paved the way for "West Side Story" with the song of hope "Somewhere." People need hope and a dream and something to aspire to or for.
Consider too the era post World War Two: when soldiers returned with no counselling and to be told "to just get on with it." This historical context makes sense with Tommy Albright's behaviour, played by Kevin Early. He has an exquisitely rich baritone voice, and is classically handsome for this role. Though more on him later.
The opening is a scene of the Scottish hills behind a curtain of "vertical strands" curtain. I think these are called "Ball French Curtains" and look like a glamorous fly screen. This curtain will be used effectively throughout the show to change the mood and location.
Tommy Albright played by Kevin Earley and Jeff Douglas played Rod Thomas. They are lost and use a simple set to establish the mood of the musical in this prologue. Tommy appears to be more passive agressive and mentally unsettled than in other productions. This makes sense as he has returned from the war.
The setting is made up of a hessian silohuette in triangular shapes to cleverly create the highlands of Scotland. I then realised that it was not a backdrop but this clever image that was peeking through the curtains to welcome us into the theatre. The designs are very minimalist and remind me of the effective minimalism of Lincoln Centre's "South Pacific".
The musical improves dramatically and it is the ensemble opening that I think needs the some fine tuning.
The first ensemble number "Brigadoon" is beautiful choral and melodic. We hear them but do not see them.
This opening sequence "Vendor Calls/Down in MacConnachy Square" fitted the bill but looked empty. It either needs an extra four to six people to fill the space, or more movement or some more of the hessian scenery to create the silhouettes of triangular roofs of houses etc. I thought there was too much empty space and it was too flat to create the impression of the hills. Maybe they could use members of the orchestra as they do in later sections to fill the space.
I loved the Scottish accents in the singing though these could be consistent maintained by some actors throughout the entire duration of the show.
The actors need to be really engaged in the activity at the market stalls. It seemed a bit twee at times with their relationships and encounters with customers or neighbours. There needed to be a real connection to heighten the atmosphere.
The costumes immediately stood out as too perfect for the 1746 era. There needed to be a bit of wear for the market holders and the customers. The costumes are beautifully made but look too nice. They need to be more lived in to show the differences between the types of characters.
"Waiting for My Dearie" showcases the magnificent and pure voice of Jennie Sophia who embraces the role of Fiona MacLaren. It is great to see the ensemble of ladies creating an feminine and genteel atmosphere of anticipation.
"I'll Go Home with Bonnie Jean" highlighted Charlie Dalrymple played by Jordan Brown's skill as a triple threat. He has a lovely voice and a charismatic charm for this role. He is excited as he is to be married and shares his enthusiasm with the local villagers. There is a robust and buoyant atmosphere created here by the ensemble.
The iconic moment of their realisation of mutual affection is the basket sequence when they both hold the basket down stage right. This reminded me of John Cranko's famous heart shape love pose from "Romeo and Juliet" premiered by Stuggart Ballet. I would love to know if this was choreographed intentionally to pay homage to John Cranko or was it a pure accident?
The singing by Tommy of this famous song started too loud for my liking. I think it should have been more cautiously approached by Tommy as it was 1946 in his time. The opening lyrics explain why it should be more a question than a demand.
"Love of My Life" focuses on the lusty Meg Brockie. If you had waited for a hundred years, I guess you too may be a bit frisky. Meg was played with sheer bounce, verve and lust by Maggie Portman. Very eager and assertive in her attentions to Jeff Douglas played by Rod Thomas. The pair work together to create a fun number than drives their story forward. I would have liked to see more lighting to differentiate the location of space inside and outside. Both have consistent accents and are self assured in their characterisations.
"Jeannie's Packing Up" is the ladies ensemble number that has a lovely feminine ritualistic atmosphere. The cast of ladies support the bride to be -Jean MacLaren played with confidence by Olivia Renteria. Her solo with the bridal veil is magnificently pure and poignant and the choreography pays homage to Agnes De Mille.
"Come to Me, Bend to Me" sung by Charlie Dalrymple is beautifully realised by Jordan Brown. The pas de deux where Jean covers his eyes is romantically appropriate and again drives the story forward without being a "filler" dance.
Fiona's father, Andrew MacLaren played by Craig Spidle tries to oversee the farewell between Fiona and Tommy. He plays his paternal role with Scottish assurance and confidence and great timing.
The farewell kiss is seen by Jean and where she stands does not look realistic from an audience's perspective. She needs to be in the appropriate line of vision rather than a "cheated cinematic mark" position. I did not believe that she could see the kiss from that angle. A minor adjustment will correct this important moment.
"Almost Like Being in Love" was beautifully sang and was at the right level. Though it would have seemed more impressive had "Heather in the Hill" been restrained a little more.
"The Entrance of the Clans" is a memorable moment that I will savour for many years to come. This neatly choreographed section includes two bagpipe players. Apparently this is the first time this has happened in the USA. We were fortunate to have bagpipe players in each of the productions that I saw in Australia.
This was a celebration and we were introduced to the tartan kilts and traditional outfits befitting a wedding. The costumes are exquisitely perfect but need to show they have been worn, cherished and stored for such a memorable occasion. The tartans were a bit too cartoon or cliche in their purity. They need the occasional patch, darn or dirt to show some 1746 non-Westinghouse machine-washed costume, but a realistic replica of the era.
The "Wedding Ceremony/Dance" was brilliant staged and executed to bring a lump to my throat. The passion of Charlie to naive confirm if he was now married brought a measured poignancy to the scene.
The celebratory ensemble dance is easily a highlight of this production with such talented dancers to honour the legacy of Agnes De Mille and the traditions of Scottish folk dance. The enchainments and group patterns were with a traditional vein. The great thing was that many danced well but also some danced better which demonstrated a social realism to the celebratory dance.
The ensemble created a wonderful atmosphere to support the wedding festivities.
The highlight for the whole show was the performance of Harry Beaton who provided a menacing objective of revenge, jealousy and anger throughout. His unwavering determination and desperation was exhibited by his brilliant display of his Highland fling and his sword dance. His "cutting the air" demonstrated sharp, crisp and definite lines with a ballon that showed mastery of his elevation.
The supporting dancers were impressive with their sharp moves. I loved the suspension created in the top of their leaps to create a photographic image of their technical and physical prowess as Scottish dancers in celebratory mode.
What I loved was that the dancers were in unison but more importantly showed that some dancers are better than others within their clan. It created a lovely honest realism to the choreography compared to the traditional "kick line" whereby precision is paramount.
The finale to Act One left us with a bad taste in our mouths and made us wet our appetite to quench our thirst at interval. This cliff hanger encourages the audience to talk about the journey of various characters and allow us to empathise with our personal favourite. Not a down-beat finish to Act One but more an enticement to continue to drive the story forward.
Act Two opens with "The Chase". This is brilliantly realised with the clever use of the curtains that paid homage to the original "A Little Night Music" and to "Into The Woods" with the trees. The lighting by Aaron Spivey finally brings to light what is possible with lighting design to create a mood. The projection design by Shawn Sagady is haunting, mysterious and menacing. This opening sequence resonates the desperation of Harry and the fear of the villagers that their miracle will end if Harry leaves Brigadoon.
The subsequent actions lead us to the poignant "My Mother's Wedding/Dance" by Meg Brockie and the ensemble.
The "Funeral Dance" by Maggie Anderson played by Katie Speilman is another brilliant moment with pure emotional response via dance. The dance and choreography pays honourable homage to both Agnes De Mille and Martha Graham.. The convulsive contractions are visceral and palpable. Her backward falls are sheer desperation and heartfelt. This is pure dance that drives the emotion of the story forward and allows us time to reflect upon her grief.
"From this Day On" sung by Fiona gives us further insight into her character and her journey. Sung with purity and honesty.
We are back in New York and the setting is a scrim curtain with a projection reminiscent of the colour scheme and design of the Mandalay Bay Casino ceiling. Tommy is distracted at his dinner/rehearsal for his wedding. He hears Fiona and his heart pines for her.
The order of "There But For You Go I" is more logically placed here with precision with the newly revised book by Brian Hill. Here we hear Tommy quite rightly determine his future and resolve decisively to return to Brigadoon ( if he can find it.) His passion is determined and paced accordingly. This moment would have been more passionate had "The Heather on the Hill" been less robust as we would have seen a more of a roller coaster of angst from Tommy.
The finale is well paced though the lighting for Fiona's entrance could have been a bit more alluring and build to create a majestic sweep of light. It gives us hope in these times that are still torn with unrest.
I loved the production and welcome its development to enhance the atmospheres to bring this musical to its just position as a major work as Brigadoon has inspired many other famous shows. I guess so underrated that a famous song was copied for another major musical!
My choice is this show is a winner and has legs!
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