Breaking down the Wall. Photos: Patti Brahim.
It seems like The Fantasticks has been around forever. And it has. Really, it is the longest-running musical in the world, having been off-Broadway for 42 years and 17,162 performances.
But I can’t say that I have seen it.
Of course, I have been deeply aware of the musical itself, historically speaking, but mainly through its score. Everyone worth their musical salt seems to have sung Try To Remember and/or Soon It’s Gonna Rain at some point in their careers.
Now I can take my place among the thousands who have enjoyed the interactions of El Gallo (Sean Cooper), Matt (Adam Hill), Luisa (Rachel Eve Holmes), Hucklebee (Brian Hupp), Bellomy (James Critchfield), Henry (Martin Giles), Mortimer (Daniel Arnaldos) and The Mute (or The Wall, if you may, Dane Toney).
It was, in a word, terrific — hence the listing of all the players (more to follow).
Yes, it was fun to engage with the Opera Theater of Pittsburgh, in partnership with Attack Theatre at that wedding cake of a building, The Twentieth Century Club, in Oakland. And engaging it was, with the cast parading, dancing and singing amidst the audience at times.
A double flourish.
The story line is simple. Boy meets Girl (despite the objections of their fathers, who built The Wall, ostensibly to keep them apart). Boy and Girl fall in love. Boy loses Girl when the truth comes out (that the fathers did staged it all so that their children would fall in love). Boy and Girl rediscover their love for each other.
The scenery (Marie Yokoyama) fell along those lines — a collection of scenery pieces perhaps gleaned from the backstage of a theater and affording the characters many levels on which to clamber around. Costumes (Julianne D’Errico) were mostly uncomplicated, as they should have been (watch for the vest switcheroo). And the music was appropriately intimate, with a quartet made up of piano (Walter Morales, also the musical conductor), percussion (Kevin Danchik), bass (Cory Palmer) and harp — loved the sparkling touch! (Marissa Knaub).
This musical is over 50 years old. Yet it seemed timeless (apparently with a few tweaks to the script) under Attack founder Peter Kope’s direction.
This is an young opera program on the rise, bolstered by veteran actors and singers that give it some heft. You might say it takes a village to raise an opera, with over 40 artists populating nearly 30 performances, workshops, recitals and the like.
Lovers and umbrellas.
With its off-Broadway history, The Fantasticks might seem to be a lightweight choice. But it translated to an operatic approach, with epic overtones, quite nicely.
Kope kept the cast on a taut physical rope to maximum effect, so the songs were staged so effectively and with great detail. The cast, not all of them dancers, took to it all with gusto.
Over-the-top, you might think. But this Fantasticks gathered steam as it rolled along, producing many moments to relish. Holmes’ skill at the devilish operatic leaps. Her obvious connection with Hill. Cooper’s robust presence as Narrator/El Gallo. The similarly obvious connection between the dads, Hupp and Critchfield. And who could play a Wall (et. al.) better than Toney?
This Fantasticks provides a great escape, along with some food for thought. But if you’ll otherwise preoccupied for Fantasticks, make it a point to check out the musical breezes wafting through Summerfest up to and including July 27.
Will she or won’t she?