A “Sense and Sensibility” look with “The Book of Mormon” Feel
It’s a great time at The Globe. There is always this big buzz with San Diego’s two biggest theatre companies about what is going to Broadway next. In my opinion, with their latest world premiere musical, Regency Girls, everything falls into place. I went to see the show a week after it opened, and the theater was packed. No cabía ni un alfiler like we say in Spanish. There was no room in the house, pues.
With a book by Jennifer Crittenden and Gabrielle Allan, music by Curtis Moore, and lyrics by Amanda Green, the story is set in Cheshireshire, English countryside during 1810. Elinor (Isabelle McCalla) and her sister Jane (Kate Rockwell) are at the mercy of their marriageable destiny dictated by their parents. Elinor is promised in marriage to Stanton (Nik Walker), and Jane to Dingley (Gabe Gibbs). The sisters love each other but are total opposites. Elinor reads the paper, knows about politics, and wants more out of life, while Jane bathes in the culture of appearances and is happy as is. Elinor exercises her love for Stanton a little too much and ends up in a pickle. Her chambermaid, Dabney (Krystina Alabado), knows of someone who can help in London. Hence, a traveling crew comes together with Jane and Petunia (Ryann Redmond), another house employee, and the four ladies go on a “Carriage Trip” to London.
Like in most families, especially the British ones from the 1800s, there’s a mean, nosey aunt. Lady Catherine (Janine LaManna) is not pleased with the sisters’ nuptial plans and is plotting a different outcome that involves her two daughters, Gretchen (Kyla Stone) and Gertrude (Marissa Rosen). The London trip gets challenging, and Scutter the butler (Sav Souza) comes to the aid of the Regency Girls. Elinor sees firsthand the advantages of being a man, and Petunia lets loose with the hilarious “Man Things/Patiently Waiting”; Jane comes to terms with her womanhood in “Jane Finds Her Tingle”, and Dabney confirms a feeling she’s had all along.“A Woman Knows”.
The musical is smart, tremendously funny, and sprinkles some queerness in, while also keeping it accountable by taking jabs at politics and rights. Writers Jennifer and Gabrielle’s experience comes from great success in TV, with shows like The Simpsons and Scrubs, and I consider this a hefty part of this musical’s charm. The songs are fun; some are catchy, and more could be memorable. The orchestrations by Curtis Moore and James Sampliner are beautiful. “What Does That Make Me” is another song that stuck out for me.
Josh Rhodes directed and choreographed a large group, creating flawless chemistry and a smooth flow. The two-hour and change piece goes by fast, and the surprises are endless.
Anna Louizos’ dynamic set design, with a vaudeville-esque flair, is fitting for the concept. Adam Honoré’s lighting accompanies each action and song rendition gracefully. Jason Crystal’s sound crisply rounded all the happenings. Our very own Tony Award nominee, David Israel Reynoso, brought the gorgeousness again with a beautiful and sexy/sensual costume design that should also be available at the merch stand.
The Regency ladies are absolute rock stars. Isabelle McCalla is warm and mighty. Kate Rockwell is silly and sweet. Ryann Redmond is a total hoot, and I have to admit having a soft spot for Krystina Alabado ever since I saw her work for the first time as the mistress in the touring Broadway production of Evita some thirteen years ago (thirteen! My salts). Alabado has returned to San Diego in other productions, and it just makes me happy to see her work and killing it. Sav Souza gives the key role of Scutter tints of comedy, sweetness, and a lot of heart. Janine LaManna has a mighty delivery with strong vocals that take the house down. The male counterparts, Nik Walker and Gabe Gibbs are also stellar. Both LaManna and Gibbs play more than one role, and that move was on point and cackle-worthy. But honestly, there is no weak link in this cast or company.
Regency Girls will be a part of this year’s highlights. It has been extended, and it should not be missed.
Other credits include music supervision by Sampliner, music direction by Patrick Sulken, additional arrangements by Dan Lipton, fight direction by Jake Millgard, dialect coach Nathan Crocker, associate director Deidre Goodwin, associate choreographer Lee Wilkins, casting by Paul Hardt of Hardt Casting, and production stage manager Anjee Nero.
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