photo by Scott Pakudaitis
In the pantheon of early rock-n-roll artists, few were as immediately impactful or as enduringly influential as Buddy Holly. From his first hit record, 1957’s That’ll Be the Day, until his tragic death less than two years later, Holly released a stunning volume of work that continues to resonate through the music’s propulsive rhythms, richly varied melodies, and the singer’s distinctive staccato delivery. Unlike the majority of his contemporaries, Holly resisted playing to genre conventions and insisted on writing his own material, setting an example of creative independence that would later be cited by the likes of Bob Dylan and the Beatles. The new production of Buddy - The Buddy Holly Story, a collaborative effort between the History Theatre and the McNally Smith College of Music, offers a rip-roaring showcase of Holly’s musical legacy, proving the songwriter’s timeless appeal beyond any doubt.
Like the Guthrie’s recent production of Ella, Buddy is structured as part biography, part tribute concert. While such an approach maximizes the set-list, it also requires a limited narrative. Chronologically told, the storyline touches upon Holly’s partnership with his backing band The Crickets, the group’s struggle to break away from the country-and-western mold, the ascension to rock-n-roll stardom, Holly’s speedy courtship of his wife, breaking with the Crickets, and - inevitably – Holly’s final concert in Clear Lake, Iowa. While the lightly sketched life details will likely already be familiar to Holly fans, director Ron Peluso utilizes each element to underscore the personality behind the music.
And the music is rendered by musical director Gary Rue with a youthful vitality that shows little sign of calcification. Over twenty songs are featured, including such instantly familiar standards as Peggy Sue, Everyday, Oh, Boy, and Rave On. Holly originals are nicely supported (and given context) by a selection of era-specific hits , including the signature songs of his similarly fated tour-mates, The Big Bopper’s Chantilly Lace and Ritchie Valens’ La Bamba. Each performance strikes with an exuberance strong enough to reclaim from the cobwebbed confines of oldies radio. Simply put, these are not stale re-creations of a nostalgia act, but living, breathing renditions.
Playing the lead, Nicholas Freeman commendably captures Holly’s personality, particularly in his humble concert persona. Rather than falling into flat imitation or over-reaching caricature, Freeman plays the role as a talented young man driven by his music and thrilled to find himself in the spotlight of success. And while a few of the non-musical sequences do drag in comparison, Freeman’s persistent exuberance keeps the production on target.
The two primary Crickets, played by Josh Bourdon and Zach Spicer, offer up consistently refreshing doses of comic relief as they utilize their newfound fame in the pursuit of young ladies. Speaking of the opposite sex, Nora Montanez’s portrayal of Holly’s wife Maria Elena features a sparkling levity that only gets weighed down in a second half foreshadowing of Holly’s death.
Designed around the choreography of Jan Puffer, a talented crew of ensemble actors and dancers dart on and off the stage, punctuating the energetic nature of the production. In particular, the closing number is a swirl of rockabilly motion, like a vintage episode of American Bandstand brought to vivacious life with help from the period appropriate costume design of Lynn Farrington.
Yes, it’s true that the storyline behind Buddy – The Buddy Holly Story strikes a predictably familiar chord. But when the songwriting on display is of such an exceptional caliber, striking a familiar chord isn’t just beside the point…it is the point.
Buddy – The Buddy Holly Story runs through November 1st.
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