BRIGHT STAR – Music, Book and Story by Steve Martin and Edie Brickell; Directed by Steve Wilson; Choreographed by Tia Bloom; Vocal Direction by Jalyn Courtenay Webb; Music Direction by Mason Siders. Produced by Candlelight Dinner Playhouse (4747 Marketplace Drive, Johnstown) through June 8. Tickets available at 970-744-3747 or info@ColoradoCandlelight.com.
I love playwrights and lyricists who are thoughtful enough to give everyone in the cast a little sumthin sumthin to do in the spotlight once and awhile. It’s all well and good to be a member of a terrific ensemble of singers and dancers, but, occasionally, it’s nice to have a line or two or a verse to sing on your own. Mr. Martin and Ms. Brickell must have remembered being in that position more than once in their climb up the ladder of success. Because in addition to giving the leads powerful scenes and outstanding songs, they also gave nearly everyone on stage a little bit of the song to sing or a few lines to learn in addition to the lovely country choreography.
This whole musical is Alice Murphy’s story, and the amazing Jennasea Pearce gets most of the songs and storytelling aspects of the evening. But as examples of how the composers gave other people places to shine, there’s Scott Severtson who, as Alice’s father, had to make a terrible decision in a heartbreaking scene. Then he and his daughter have a touching scene of forgiveness years later. Adienne Asterita as Alice’s mother had an equally heart-rending part in that decision, but stood by her daughter through everything. She had several short solos that displayed not only her superb singing voice but her acting ability as well. Carter Edward Smith proves he’s worthy of the bad guy title as the father who commits an unforgivable sin to “protect” his son and then must face the consequences. Adrianna Delpericio and Candlelight regular Eric Heine step into the spotlight as the second set of parents with important dialogue and sweet sentiments. Cory Michael Klements, Hugh Butterfield, and Myles Wright – after dancing their shoes off in the ensemble – step into dramatic roles as a doctor, a lawyer, and a records clerk to add to the story. Taylor Baker and Charlotte Campbell play the saucy bookstore clerks and bring personality and humor to their scenes. The whole ensemble of dancers and singers provides extraordinary backup for the principal players.
Who are they? Jennasea Pearce playing the difficult role of the young and then the 23-years-later adult Alice Murphy is the heart of the story. She is a woman of incredible depth of compassion, love, and determination. Jennasea’s strength as a performer brings Alice’s story into the light with clarity as it bounces back and forth in time. A very brilliant inspiration by the playwrights has Alice morph from the young to the older Alice by walking out of one set of clothing and into another right on stage. It says to the audience, “These are both Alice. Keep up!” Without telling the whole story – because you are going to want to see this one acted and sung – Jennasea has scenes of unimaginable sorrow and breathtaking happiness. She does both equally well.
How nice to see a name I’ve noticed in programs all over town – Jazz Mueller – step up and show us what he’s got. In addition to a precognitive mother who gave him that appropriate name, Jazz has got dancing, singing, and acting chops to spare. He puts off a young Paul Newman vibe that was well-suited for this role of a man who hits the highs and lows of life with equal hope. The confrontation he has with his father as he learns the truth about an incomprehensible situation is riveting. But he swallows it and thinks only of his love for Alice and how not to break her heart. While he’s breaking his own and that of everyone in the audience as well. Well done, Mr. Mueller.
Another key player in this whole scenario is Billy Cane, played by newcomer Andrew Hensel. Andrew brings a sweet innocence to his role as the novice novelist that is quite compelling. Billy’s naive approach to romance is delightful and sweet, while his destined love interest, Margo, waits patiently for him to discover her. Paige Bryant brings Margo’s secret hopes and desires to quiet life.
Comic relief shows up in the duo who work for Alice at the publishing house. Jude Thurman and AJ Milunas jump into first performances at Candlelight with both feet. I’m feeling quite sure they won’t be the last. They bring a much-welcomed “Lucy and Ricky” vibe to the fun with AJ in the Lucy role. They start as snobbish co-workers and end up as good friends to the hapless Billy still trying to figure life out. Their musical number “Another Round” is a highlight of the second act.
While there must be designated hooks backstage to hold the alternate clothes for all the characters as they switch back and forth from 1923 to 1946, the costumes hanging on those hooks are beautifully designed to keep us solidly in the correct place in the story and create an authentic picture of the history being explored. The hairstyles additionally added to the authenticity of the production. Kudos to the Debs – both Faber and Spaur for their work on this show. The set designed by Casey Kearns, the props created by Rachel Ross, the lights designed by Vance Mackenzie, and the sound monitored by Mark Derryberry all combine to create gorgeous stage pictures, allow for smooth transitions in time, and enhance the overall production with professionalism and care.
But the success of this production also rests easily on the shoulders of the creative team of Steve Wilson as Director, Tia Bloom as Choreographer, Jalyn Courtenay Webb as Vocal Director, and Mason Siders as Music Director. Together, they guide this cast into the joyful noise of this production. Steve has instilled a bit of his own heart into leading his cast into the charming evening they have all given us. Kick up your heels and come see this show!
A WOW factor of 9!! That’s two 9’s in a row for you guys. Good job!!