It was a two-show weekend -- my favorite kind.
"The Unsinkable Molly Brown," on stage at the Ramada Wagon Wheel Theatre, is based loosely on a real character. "Carousel" at the Amish Acres Round Barn Theatre, is based on a 1909 play. They are examples of the wide variety that makes up the American musical theater roster.
At Wagon Wheel, in addition to the always excellent singing and dancing ensemble, "Molly Brown" offers two leading players who are perfect for their roles.
As Margaret Tobin, the girl from Hannibal, Mo., who dreamed of learning to read and write and of having a red silk dress and a big brass bed, Sarah Goeke is feisty and vulnerable, equal parts wide-eyed child and defiant female. Her energy is boundless. From the moment she literally leaps onto the stage to the tender finale, there is no doubt she is definitely "unsinkable." She has a confident stage presence and a lovely soprano voice that handles ballads ("My Brass Bed") and uptempo romps ("I Ain't Down Yet," "Belly Up to the Bar Boys") with equal ease.
The object of her affection (and sometimes her anger) is J.J. Brown of Leadville, Colo., played with stalwart assurance by Brandon Springman. A miner who goes from a shack in the woods to a mansion on Denver's Pennsylvania Avenue thanks to his silver strikes, Springman looks the part of the rugged outdoorsman and delivers a full, rich baritone that adds depth to the show's most beautiful ballad "I'll Never Say No" as well as to the introspective "If I Knew" and "Leadville Johnny Brown." He goes toe-to-toe with his combustible spouse, whose desire to impress Denver's "Sacred 36" becomes an obsession that almost destroys their lives, and comes out a winner.
Whether or not the Browns' relationship is absolute fact, the acquisition of her nickname is in the history books. On Lifeboat 6, Molly Brown urged her band of survivors to row to safety as the "unsinkable" Titanic went down in the North Atlantic.
Surrounding this strong duo are the Wheel's usual assortment of excellent featured players: Mike Yocum as Molly's earthy dad; John Rapson as Christmas Morgan, saloon owner and lifelong friend; Mark Ayesh as a clergyman in search of a cathedral; Jennifer Dow as Princess DeLong, who bolsters Molly's self-esteem; Tanner Bollinger as her princely brother, who woos Molly with the lovely "Dolce Far Niente"; and Crystal VanArtsdalen as Mrs. McGlone, nouveau riche leader of Denver society who slams the door repeatedly on Molly's efforts for acceptance.
The tireless ensemble portrays citizens of Leadville, the Beautiful People of Denver and international royalty and society with equal ease, executing Scott Michaels' intricate and varied choreography with enthusiastic precision.
"Molly Brown" was penned by the late Meredith Willson, who also created "The Music Man," and there are echoes of "Trouble" in "Are You Sure" and "76 Trombones" in "I Ain't Down Yet," but who cares. It's fun to see and lovely to hear.
Martin Chapman-Bowman's costumes go from backwoods to drawing room with total believability. Recreating Roy Hine's set is more than just a tribute to the late artistic director, it's just right for the show.
Former Wagon Wheeler Tony Humrichouser directed and staged this 1960 musical, proving that in the right hands, it is still "Unsinkable."
("The Unsinkable Molly Brown" plays through Saturday in the theater at 2517 E. Center St., Warsaw. For reservations, call 267-8041.)
"Carousel" is one of Rodgers & Hammerstein's "big five" musicals.
It is a testament to the musical genius of R&H that their melodies here, penned more than six decades ago, still resonate with audiences today, most especially "You'll Never Walk Alone."
"Carousel" opened on Broadway in 1945 with John Raitt (father of Bonnie) as the charismatic carousel barker Billy Bigelow. It was the first musical "comedy" with a tragic plot which obviously did nothing to dampen its success.
The show, as originally conceived, is a "really big" musical, requiring a large cast of singers and dancers, the last especially for the ballet on the beach, in addition to strong singer/actor leading players.
The Round Barn production has a total cast of 18, including three children, and several are required to play more than one role. It is not an easy deficit to overcome but director Jeremy Littlejohn makes a real effort (and contributes a lovely characterization as the Starkeeper).
The minimal choreography depends more on gymnastic ability than on dancing. Ropes on each side of the stage are used for swinging, often out over the audience.
The voices are strong. Amber Burgess as flighty Carrie Pipperidge and Jeremy William Hilgert as her "intended," Enoch Snow, carry off their comic clashes with solid timing and an obvious rapport and their duets are right on the mark.
Rachel Black has the perfect voice for Nettie Fowler, who sings the well-known anthem. She never oversings and solidly delivers the familiar melody -- and lyrics -- with depth and warmth.
Brian Kaisen's Billy Bigelow reaches below the bravado to exhibit a softer side that makes his attraction to Jennifer Jackson's Julie Jordan more believable. He handles the vocal requirements of the "Soliloquy" well but the sound reverberation on his final notes is more annoying than impressive, as it is whenever used.
As malevolent Jigger Craigin, Sam Brown is much less than evil, no matter how many times he hocks and "spits" -- a disgustingly unnecessary bit of business.
The opening visual of the foggy docks at daybreak is impressive, as is all David Castaneda's lighting. The small orchestra handles the lovely score very well.
(Carousel" plays through Sept. 7 at the theater, 1600 W. Market St., Nappanee. Show times and tickets: (800) 800-4942 ext. 2 or www.AmishAcres.com)
Contact Marcia Fulmer at mfulmer@etruth.com
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