In the world of musical theater, few shows can rival the enduring appeal of Lerner and Loewe's "Brigadoon" and Rodgers and Hammerstein's "Flower Drum Song". These Golden Age musicals, though not considered the pinnacle of their creators' work, have managed to captivate audiences for generations. But what makes them so captivating? And why are they still relevant today?
Personally, I think the answer lies in the music. The scores of "Brigadoon" and "Flower Drum Song" are timeless, with melodies that have stuck with audiences long after the curtain has fallen. The revival of "Brigadoon" at Pasadena Playhouse, in particular, showcases the power of the musical's music, with a production that rivals the best Broadway has to offer. The revival's director and choreographer, Katie Spelman, has crafted a production that is both visually stunning and emotionally resonant, with a dynamic ensemble that brings the show to life.
What makes this production so remarkable is the way it has been modernized. The adaptation, by playwright Alexandra Silber, works remarkably well, with a few lumpy patches aside. The way Tommy Albright and Jeff Douglas, the accidental American intruders, have been reimagined is a fizzy delight, with Max Von Essen and Happy Anderson delivering performances that are both comic and poignant. The production's female characters, particularly Betsy Morgan as Fiona MacLaren, have been recalibrated to bring them into the 21st century, with Morgan's fiery streak adding a modern edge to the musical's out-of-time female characters.
The music of "Brigadoon" is a case in point. Frederick Loewe's score is sublime, with melodies that have stuck with audiences for generations. The blend of Von Essen's lyric baritone and Morgan's assertive soprano gives eternal life to Tommy and Fiona's numbers, with "The Heather on the Hill" and "Almost Like Being in Love" standing out as particular highlights. The 22-piece orchestra, under the music supervision of Darryl Archibald, draws out the all the sublime color of Loewe's music, with the production's scenic design, by Jason Sherwood, adding to the dreamlike quality of the show.
However, not all revivals are created equal. The update of "Flower Drum Song", which is Hwang's second crack at revising the book, originally written by Oscar Hammerstein II and Joseph Fields, falters between eras. The musical, which premiered on Broadway in 1958, was groundbreaking for the way it provided a showcase for Asian American performers, but the revival's update of the book and score falls short of the mark. The production is on a quest for a deeper authenticity, but the tension between the update's good intentions and the tendency of musical comedy to traffic in amusing caricatures makes it a less successful revival.
In the end, both "Brigadoon" and "Flower Drum Song" are testaments to the power of music in musical theater. The revival of "Brigadoon" at Pasadena Playhouse is a must-see, with its dynamic ensemble and sublime music, while the update of "Flower Drum Song" is a missed opportunity, with its update of the book and score falling short of the mark. But both shows are reminders of the enduring appeal of these Golden Age musicals, and the power of music to transcend time and captivate audiences for generations.
