Simplicity is best at the Denver Vic

June 10, 11:08 AMDenver Theater ExaminerDeb Flomberg

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From Left to right: Jay Jakosky, David Allan Howell,
Kelly Twedt and Mathew Kepler.
Photo by Sarah Roshan
 

There is something magical about a small stage musical. Musicals, for the most part, are big, expensive productions with huge sets, fancy costumes, a full orchestra, and the type of budget that makes any producer cry “Please! Stop!” However, when you look at a small stage musical, then suddenly it isn’t about the budget or the spectacle that the show becomes. It is about the music and the voices and the story being weaved in front of you. It sucks you in faster, the intimacy surrounds you, and you feel like a part of a different world. The Fantasticks is the epitome of small stage musical. Originally written in 1960 by Tom Jones and Harvey Schmidt (no, it’s not THAT Tom Jones) it is the world’s longest-running musical with 17,162 performances off-Broadway. And it’s all done with a simple set, just 2 musicians, and only 8 actors.

The Fantasticks, now playing at the Denver Victorian Playhouse, is a simple story about two young lovers – Matt and Luisa. Their fathers put up a wall between their houses to ensure the two children will fall in love – since everyone knows that children will always do what parents tell them not to do. The parents stage an elaborate abduction, ensuring that Matt will rescue Luisa, making sure that marriage will ensue. However, once Matt and Luisa get what they think they want, everything changes. Suddenly the things that seemed so romantic by night, are not as wonderful by day. The story is weaved by El Gallo, the ringmaster of sorts. He steps in and out of the story, narrating the action and also acting as the villain within the tale. There is also a mute that is the assistant of the tale – never speaking a word, he simply helps construct the story, pulling props out of a chest and setting the scene.

The simplicity and elegance of The Fantasticks work perfectly within the intimate space of the Denver Victorian Playhouse. The cast itself is quite strong with memorable performances throughout. Kelly Twedt as Luisa is simply stunning, capturing the youthfulness and energy of the character perfectly. Her lovely voice is strong enough to carry her songs, but her acting shines through in each moment. David Allan Howell took on the role of Matt, and he is a perfect match for the effervescent Twedt. Their voices blend beautifully and he, too, captures an innocence that begs for the life lessons that this show will teach  him. As El Gallo Austin Terrell is simply magnificent. He takes an understated and subtle approach to the role, which is often done much broader. His approach turns El Gallo into a more sympathetic character. Allowing the audience to understand his motives and actually care about  him. Terrell sings each song beautifully as well, sweeping each lyric with emotion and tenderness.

The two fathers are portrayed by Jay Jakosky and Mathew Kepler, both equally likable on stage with strong voices that carry the songs well. The performances are punctuated with moments of stiffness and there are times when Kepler seemed uncomfortable, but as soon as both men started singing the tension and stiffness was forgotten. As the Mute, Nils Swanson said more with his eyes than many actors say in four minute monologues. His all-knowing glances and comedic timing was a perfectly subtle match to Terrell’s El Gallo. Finally, the broad comic moments of the show are brought to life by Doug Rosen and Nathan Bock as the two actors hired by El Gallo for the fake abduction. Their comedy is broad and over the top, which works well for the most part. There are times when their approach was a bit too large for the small stage and the intimate setting that the audience had grown comfortable with. However, both are hilarious and certainly brought large guffaws of laughter from the audience.

Director Sarah Roshan certainly showed off her strengths with this show. Her direction is tight and pointed, drawing focus appropriately and allowing the beautiful story to tell itself. Music Director Philip Rosenberg-Watt obviously worked well with this cast. The songs were all sweeping and catchy, hummable and moving. The only technical criticism within this show was the lighting. Designed by Karalyn Star Pytel, the lighting felt over designed. This show doesn’t need a lot of lighting cues or specials, as the story and music speak for itself. Simplicity works best with a show like The Fantasticks.

The historical Denver Victorian Playhouse has done very well with The Fantasticks. If you are looking for a sweet and simple musical that will move you from beginning to end, then look no further. This is what intimate theatre is all about. They close June 27th, so buy your tickets today and enjoy this magical production.