I doubt anyone would contest the appeal of a feel-good musical for the post-pandemic, pre-election, peri-MAGA year of 2023, and "Brigadoon" is just that: a feel-good show with overtones of fantasy and romance.
The story has two NYC businessmen wandering astray on a hunting trip in Scotland and happening upon the village of Brigadoon – a most peculiar village, as Act One makes increasingly clear. Tommy Albright (brilliantly played by Conor Jordan) and Jeff Douglas (Zachary Linnert), despite their friendship, are about as different as two men could be. Tommy has, to all appearances, a perfect life: perfect job, perfect fiancée, plenty of money and seemingly without a care in the world. Still, Tommy feels there’s something missing, and yearns to find he-knows-not-what. Jeff is more settled as dogged bachelor and tenacious tippler . He meets Tommy’s dreams with staunch rationality: Jeff believes only in what he can see, hear, feel, taste … like that.
They get lost trekking through the Scottish highlands and, though the map shows no settlement nearby, they follow the sound of music to find a group of men and women preparing for the wedding of Charlie Dalrymple (Luke Nowakowski) to Jean MacLaren (Susannah Harvey). Perhaps the wedding is the reason they’re dressed so queerly? for everyone is garbed in traditional Scottish dress … traditional for 1747, that is! The people speak oddly, with mysterious references to getting the wedding over before ‘the miracle’.
Jeff, more than a little inebriated, wants only a chance to sleep it off, which Meg Brockie (Madison Kauffman) eagerly offers. She leads him into the heathered hills, but once there reveals she has no intention of letting him sleep, delightfully expressed in the song “The Love of My Life”.
Meanwhile, Tommy’s eye has been caught by the beautiful Fiona MacLaren (Sarah Obert) and he insists on accompanying her as she goes to gather The Heather on the Hill. I trust I won’t be accused of a major spoiler by revealing that they fall in love; their duet It’s Almost Like Falling in Love is one of the show’s best-known songs.
Still, as Jeff points out, there are things that need explaining, and Fiona takes them to the eccentric Mr. Lundie (cleverly played by Timothy Wolf), who explains that in 1747 the town, to avoid being hexed by a traveling troop of sorceresses, was placed under a very special spell: the village of Brigadoon exists for but a single day every century; when the populace goes to bed at the close of that day they don’t awaken until 100 years in the future. And there’s a major catch: nobody can leave Brigadoon or the entire populace is doomed – kind of like Hotel California expanded to the scope of Jonestown.
Performances were universally superb. The voices of all principals – Sarah Obert (Fiona), Luke Nowakowski (Charlie), and Isa Ramirez as Maggie Anderson – were strong and true, particularly Sarah Obert’s clarion soprano. I single out Madison Kauffman (Meg Brockie) for her astonishing enunciation of some wickedly rapid lyrics without her tang getting tungled even once. And I single out Conor Jordan (Tommy) because, even in a comprehensively magnificent cast, his splendid performance stood out as exceptional. Not eclipsing the others, mind – that can create problems – but I found Jordan’s singing, acting, and dancing to be extra-specially special. [Yeah, I usually have a favorite in every cast – so sue me.]
The cast surrounding these principals was equally gifted: Stan Austin as Stuart Dalrymple, Bob Sanders as Archie Beaton with Will Leonard playing his son Harry; Susannah Harvey playing Fiona’s sister Jean MacLaren and Kent Joseph as their father Andrew. Timothy Wolf was an adorably discombobulated Mr. Lundie. The rest of the villagers were Jane Ashton (Delaney Good), Maggie Anderson (Isa Ramirez), Frank (Jimmy Hogan), and Kate (Anna Marie Abbate), with Adam Raso covering Sandy/Angus. The Ensemble added breadth and depth: Emma Jean Eastlund, Theresa Egan, David Geinosky, Dee Kimpel, Olivia Russell, Alex Villasenor, and Swing Renee Dwyer. It’s a big cast and I wish I could comment on each individual but have to settle with unanimously stunning.
The performers were brilliant; unfortunately much of the production tTeam didn’t quite meet their standard. Stage space was limited, but I’m accustomed to the really small stages of the storefront theatres I love, and Scenic Designer Ann Davis made clever use of the space, complementing the action of the play with multiple levels and alternate entrances. Not so much though with Props Designer Emmett Wickersham, who allowed some serious anachronisms: in the very first scene I was jolted by Tommy carrying a canvas duffel prominently emblazoned with the Ralph Lauren Polo label.
Hair, Wig and Makeup designer Alice Salazar, with Assistant Melanie Saso, did a nice job with some remarkably hirsute characters, but the wardrobes created by Costume Designer Jazmin Aurora Medina and Assistant Kristen Brinati were … meh. Scots clan plaids are distinctly singular and mean something; it’s not just a form of checkered cloth, and the kilts and flyplaids for "Brigadoon" were not authentic. Speaking of flyplaids, I understand the rationale for securing it twice – the dances are quite vigorous. Scotsmen manage, though … and I was very disappointed to catch a glimpse of inauthentic dress (or, more properly, undress) under the kilts. As for the girls, their dresses were pretty, but in no way memorable. Design is all about minutiae and details, and these fine points were neglected in "Brigadoon."
"Brigadoon" demanded a cast well-versed in three domains: acting, singing, and dancing, with the latter two dependent on Sound Designer Vija Lapp and Music Director / Conductor Michael McBride’s 7-piece orchestra. On the whole it was grand, supporting but not overwhelming the cast, though I do wish McBride had found a bagpipe. Lighting Designer Andrew Meyers skillfully evoked the shifting environments, from bright celebration to nubilous mystery.
The fights were well choreographed by Amber Wuttke, likewise the work of Intimacy Choreographer Elena Patterson; and the Scots dialect, Coached by Kathy Logelin, was spot-on. Sasha Gerritson Directed, and her Assistant Clayton Cross was also Choreographer. His dances were superb, incorporating elements of the Scottish fling and the Strathspey travelling step into each ceilidh throughout the show – presumably influenced by the consulting Thistle & Heather Highland Dancers. Dance performance was magnificent, sustained by Dance Captains Anna Marie Abbate and Isa Ramirez. Kudos to all collaborators, and of course laurels for a wonderful cast of dancin’ fools!
And speaking of collaboration: raves and plaudits for Stage Manager Allison Gonzalez. She and her Assistant Ethan Colish deserve recognition as authentic Cat Herders for bringing this show off! [BTW, have you seen this brilliant cat herder clip? It was a halftime ad for some long-ago Superbowl).
"Brigadoon" is emblematic of the Golden Age of musicals, in which all three domains – acting, singing, and dancing – play key roles. Prior to the 1920’s musical theatre was still evolving from variety shows, which might include singers, magicians, acrobats, and other divers offerings – Helen Keller and Anne Sullivan demonstrating ‘finger language’ was popular. Over time these disconnected acts took shape as vaudeville and revues, where the variety of acts had a central theme. The Jazz Age, 1920’s through 30’s brought operettas to the stage, produced by the likes of Cole Porter, Irving Berlin, and teams like Richard Rodgers and Lorenz Hart.
In the Golden Age of Musical Theatre, 1940’s thru 1950’s, Lerner & Lowe joined their contemporaries in producing book musicals – plays where songs and dances were fully integrated into a serious dramatic story, aimed to evoke genuine emotions, with fully three-dimensional characters performing songs and dances motivated by situation and character. Some outstanding examples of book musicals include “My Fair Lady”, “West Side Story”, and “The King and I”. Into this welcoming environment Lerner and Loeb brought "Brigadoon."
The 1960’s-‘70’s saw a major shift in style, as is to be expected in such turbulent times. Experimentation with rock musicals like “Hair” accompanied social commentary, as in “Fiddler on the Roof” and “A Chorus Line”. Stephen Sondheim flourished in this pre-contemporary era, as did Kander and Ebb and Andrew Lloyd Webber. The millenium seemed to turn back into more comedic offerings, and we’ve yet to see what the 2020’s will bring.
Me, I like dramas focusing on social issues but in general I hope for a strong swing toward original works that experiment with alternative genre.
How about you? Where would you like to see musical theatre turn? For today escapism is appropriate, and "Brigadoon" delivers! "Brigadoon" runs through November 12 at North Shore Center for the Performing Arts in Skokie.
