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The Secret Garden Book and Lyrics by Marsha Norman Music by Lucy Simon Directed by Michael J. Drury Reviewed by Cristina Martin Entire contents copyright © 2009, Cristina Martin. All rights reserved.
Shelby County Community Theatre opens its 32nd season with a lovely and lyrical show. Taking on three-time Tony Award winner The Secret Garden is nothing if not ambitious, and the cast and crew of this production meet the challenge bravely. The musical is based on Frances Hodgson Burnett's 1911 children's novel of the same name. It takes place in 1900 and tells the story of Mary Lennox (Rianna Hawkins), a young English girl who has grown up in India and is sent to live with her uncle Archibald Craven (Justin Hering) at Misselthwaite Manor in Yorkshire when her parents die in a cholera epidemic. Mr. Craven's housekeeper, Mrs. Medlock (Janet Morris), goes to meet the sullen young girl and accompanies her on the last leg of the journey to her new home. As their train makes its way across the moor, the lonely "wuthering" of the wind echoes Mary's own inner state and the bleak atmosphere she is about to encounter. Among other elements, it is the aura of secrecy surrounding Mary's uncle and his household that has held generations of young readers of Burnett's book in thrall. The musical is suffused with it, and, perhaps because it concentrates even more intensely upon the heartbreak associated with this secrecy, it is much darker than the book. Archibald is a man wracked by grief since the death of his beloved wife, Lily (Jennifer Poliskie), and to be reminded of her is still terribly painful. For this reason, he locks up her favorite walled garden on the estate and hides the key. Lily died giving birth to Archibald's son, Colin (Trey Paris), who is likewise hidden away; Archibald fears that the boy has inherited his hunchback, and so Colin remains in bed, never having developed the strength to walk and believing himself to be dying. Archibald's brother Neville (Wesley Thomas), who was also in love with Lily at one time, is the physician who looks after Colin. In truth there is nothing wrong with the boy, but as Neville hopes to gain control of the estate himself, he is none too eager to see any other potential heirs thrive. In the course of her wanderings, Mary discovers both her Aunt Lily's garden and her cousin, whose unearthly wailing leads her through the shadowy corridors to his bedchamber. The ghosts of the deceased who once peopled Mary's and Archibald's lives (referred to as "Dreamers" in the program) are present throughout, functioning as a Greek chorus of sorts. Phil Hoagland's inspired lighting design sets the mood for each scene superbly. When the stage is bathed in red to indicate death while the chorus dances and gestures with blood-red handkerchiefs, the result is chilling. Choreographer Cyndi Powell-Skellie has done brilliant work as well, and the cast executes their dance moves smoothly. Clad in traditional Indian dress as Mary's ayah (nanny), Dance Captain Candace Kresse is mesmerizing. Mary's sense of desperation is translated into the physical realm when the chorus forms a circle moving one way while the young girl runs around the outside in the other direction, showing symbolically how events conspire inexorably against her. In another deft touch, the Dreamers appear at times behind empty picture frames, suggesting a solemn gallery of portraits depicting those no longer among the living. The show's music contributes importantly to the melancholy tone. First, it must be said that the sheer stamina required of these musicians and vocalists is admirable in itself. It is difficult even for many theater veterans to imagine playing or singing for virtually two-and-a-half hours straight with just one brief intermission. The orchestra is made up of Co-Musical Directors Kim Stover Hartz and Frances Fonza (both on piano), Natalie McLean (first violin), Chris Williams (second violin), Derrick Sanford (viola), Cyndi Powell-Skellie (cello), Faith Matthews (flute) and Clinton Kelley (percussion). They do a fine job with a challenging score. Their intonation may not always be impeccable, but much of the audible dissonance was written deliberately to help create the mood on stage. The vocal score is enough to challenge the most accomplished of singers, also. The Dreamers' chorus creates beautiful music replete with intricate harmonies that do almost seem unearthly sometimes. Rianna Hawkins is excellently cast as Mary and has a lovely voice; at times I wished she would sing out with even more confidence. Trey Paris plays the petulant Colin well and also hits some impressive notes. Jennifer Poliskie and Melissa Ratliff are talented vocalists, strong and expressive in their respective roles as Lily and her sister (Mary's mother) Rose. Justin Hering and Wesley Thomas's voices are truly outstanding in the roles of Archibald and Neville Craven, respectively. Their duet, "Lily’s Eyes," brought tears to mine for sure. The talented Janet Morris is a joy to watch, and I found myself hoping we'd see more of her Mrs. Murdock. Equally delightful is Brooke Slone, who embodies the down-to-earth chambermaid Martha to a T, complete with a good rendition of a Yorkshire accent. Martha's bright eyes and energetic manner first encourage Mary to step out of herself and out of doors to sample all that nature has to offer. The girl soon encounters Martha's brother, Dickon (Tim Bishop), who is utterly at home outdoors and has a special knack with living things. Bishop's 1000-watt smile lights up the stage. Some of his singing tends to come off as flat, but he is otherwise excellent in the role. Cook Farmer is likewise well cast as the gardener, Ben, and he succeeds in bringing out both the character's wryness and his warmth. Mary blossoms both physically and emotionally as she explores the ins and outs of her new surroundings and opens herself to new friends and new experiences. Not only does she bring her aunt's garden back to life, healing herself in the process, but she becomes a beacon of hope and an instrument of healing in the lives of Archibald and Colin, too. Perhaps it was my imagination, but I detected a distinct scent of lavender during scenes set in the garden. Whether it was the power of suggestion or a creative way to engage yet another of the audience's senses, it was brilliant! The elegant period costumes designed by Donna Lawrence-Downs and the fairly simple but attractive set are perfectly suited to this production. A set of movable rectangular panels with an Indian-esque print on them are used in many scenes throughout the show even when the action is set in England, reminding us that India and Mary's experiences there will always be a part of her. The most glorious visual element of all occurs at the end, however. Without giving it away, I'll say that artist Keshia Tatum Smith has created something breathtaking that underscores The Secret Garden's message that with love and attention, regeneration is possible even after the darkest of times. May Shelby County Community Theatre's 2009-2010 season continue to bloom as Mary Lennox and her secret garden do in this first production. What an undertaking, and what an admirable job they've done! I’m looking forward to seeing the future fruits of their labors.
The Secret Garden July 17, 18, 24 & 25, 2009 at 7:30 p.m. Tickets: (502) 633-0242
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