The Fantasticks
Director Amanda Dehnert’s production of The Fantasticks has comfortably trekked down the East Coast from Providence’s Trinity Repertory to the historic Lincoln Theatre--and it’s brought along one extraneous change of habit. The show now takes place in the midst of the long-abandoned Warwick, RI amusement park Rocky Point, which may confuse Washingtonians due to its ineffective use within Fantasticks’ frame of reference. It is simply a cover, but for what?
The musical is the longest-running musical off-Broadway, taking refuge at the Sullivan Street Playhouse for a staggering 42 years, and yet Arena Stage has kept this one as fresh as a daisy. Preserved in a colorful pectin of clever illusions, exceptional choreography and physical comedy, and barrels of confetti, Dehnert continues to give life to this old favorite. Perhaps it’s because Harvey Schmidt’s book is so timeless, or Tom Jones’ lyrics are so resilient, but Arena’s lucky enough to have a multidimensional cast to give The Fantasticks the magic it needs.
Neighboring lovers Matt and Luisa (Timothy Ware and Addi McDaniel, respectively), are two archaic teenage prototypes from the 1960s who complain about their fathers’ constant desire to separate them at any given chance. But the fathers, Hucklebee and Bellomy (Michael Forrest and Jerome Harmann), secretly employ reverse psychology to see their children become husband and wife someday, because of course, children "must get their own way/the minute that you say no." (The song "Never Say No" has a dandy routine that mimics the madcap of Lerner/Loewe’s "With a Little Bit of Luck".)
The fathers hire mystery man (it’s set at an amusement park! There’s got to be a creepy magician) El Gallo (Sebastian La Cause), along with his mute assistant (Nate Dendy). In turn, El Gallo hire antediluvian thespian Henry (Larry O’Dwyer) to stage a fake abduction of Luisa, making Matt look like a hero--until the kids learn of the patriarchs’ sneaky plans.
Ware and McDaniel provide likeable if somewhat predictable turns for the lead characters, but that isn’t to say their singing doesn’t fall fittingly into line with Jones’ whimsical songbook. O’Dwyer’s performance as befuddled Henry can be gut-busting at times, but at other moments is slowed down by dragging silences. Nevertheless, his "recitations" of Shakespeare are comic gold.
Forrest and Harmann play off each other like Frank Loesser villains, accentuating their eccentricities with numbers like "It Depends on What You Pay," and "Plant a Radish." Yet, the finest addition to the cast has no lines--Nate Dendy’s physical work as the Mute gives wonderful results that could’ve been accomplished with set pieces and props. He provides the wall that divides Matt and Luisa, the weather that snows in the young couple, and a keen assistant to the young magician.
The Fantasticks has always been a deconstructive musical; the story reanalyzes the fairy-tale wisdom of yore that could be so easily picked apart, replacing it with from-scratch commedia dell’arte fare that shows reverence to the topic of "true love."
The second act is a mild headrush, relying on lighting designer Nancy Shertler’s Carnivale scheme to present what a long, strange trip it’s been; meanwhile, "Tillie"-like placards reminiscent of old Coney Island materialize in "Round and Round." "Abduction Ballet" spiels like an infomercial and encapsulates much of the first act’s gaiety, and songbook classic "Try to Remember" benefits from La Cause’s modest baritone delivery. Dehnert’s show is a great laugh for such a standard, despite its lack of histrionics.
The Fantasticks runs November 20th to January 10th at Arena Stage at Lincoln Theatre, 1215 U Street NW DC. Tickets are $51 to $74. Call 202-479-9420 or visit www.arena-stage.org
