Well-developed Characters and Songs with a Relatable Story About the Business Side of Entertainment Ventures.
I admit to having zero experience with the Renaissance Faire. I have seen snippets on TV and socials, but that is it. The closest (semi) experience has been The Medieval Times, which I stopped consuming because of the use of the horses. Animal cruelty or not, it rubs me the wrong way now, even though I loved the food.
Anywhoosies, The Old Globe continues this year of world premiere musicals, headed to other lands with Huzzah! A joyous expression indicating applause, encouragement, or celebration. And yes, the musical is true to its title. Set at the Kingsbridge Midsummer Renaissance Faire, sisters Kate (Michelle Lauto in the performance I saw, usually played by Cailen Fu) and Gwen (Liisi LaFontaine) have grown up on this site created by their parents during a time of partying and lots of weed. -Probably flower children, although it is not specified. Their father, Johnny Mirandola (Lance Arthur Smith), has poured his life into this faire and has decided to leave the throne and have his daughters— the princesses —take charge. Kate has been fully involved in cosplay and partying, while Gwen, after a few years of the same, only stuck to the business side of the faire, especially the insurance. Once she finds out the payroll has been redirected to hire a famous swordsman in the Ren’ network, Thomas Morningwood (Leo Roberts), Gwen aims to put things back into order with the help of another Ren’ dropout and now the event’s lawyer, Gareth (Anthony Chatmon II). And like everything, when you dig, you find. Gwen not only discovers the inconsistencies but also uncovers a trail of bad practices that can jeopardize the whole thing, along with the family’s bond.
With book, music, and lyrics by Nell Benjamin and Laurence O’Keefe, the musical is directed by Annie Tippe. I absolutely loved the juxtaposition of the hilarity and the business side of the faire. Something that is not typically explored/exposed to audiences but is often discussed in the performing arts world, especially now with all the budget cuts and increased costs. (Do not get me started on AI). Tippe directs a large cast that is constantly on the move, allowing each character time to express their story (some in song) and interact with the audience. The direction was smooth and clean. The script also includes innuendos, nods to reality and history, and, of course, references to our current political U.S. climate —actions that were cheered and applauded by the audience. Speaking of audience and interaction, during the performance I saw, a few San Diego local actors, who were not involved with the show, were living their civilian selves and got to go onstage during an audience participation call. Jasmine January, Taylor Renee Henderson, and Geoffrey Ulysses Geissinger interacted with the cast in a cute, musical scene, which was great to see.
Todd Rosenthal’s set is beautiful, featuring an amazing curtain that resembles a tapestry, enhancing the ambiance. It also includes round stairways, a stage elevator with things appearing and disappearing, a moving platform, and a second floor where the musicians play live. Alejandro Senior is in the music direction, with Mary-Mitchell Campbell as the music supervisor and Elizabeth Doran as the associate music supervisor. The moving platform got a moment and a workout during “The Song of Kate,” one of the musical standouts that combines song and rap, a la Hamilton, with its pertinent punch. Michelle Lauto gave all the feels, ranging from fierce to naive to loving and funny. Proof that ensemble members and understudies get the job done. (see what I did there? IFYKYK).
For a production like this, set in this location, the costumes have to command the aesthetic. Haydee Zelideth’s designs were beautiful and meticulous, using taffetas, lots of colorful velvet (my favorite), leather, tights, thigh-high boots (another favorite), and feathers. The attention to detail with the belts and accessories made them look neither cartoonish nor fake, as they fit well. Another thing I appreciated was the space for artisans and designers in the story. Allison Guinn, as Lady Eve and one of the faire vendors, has a meaningful scene that was incredibly articulated and praised by the audience. Continuing with that flow, Peyton Crim as Wayland, the eternal Sabersmith, showcased an amazing, deep voice and presence during the song “The Weight in Your Hand”.
Wigs often are hit or miss. I loved Earon Chew Nealy’s designs for their naturalness and diversity, ranging from long and curly to short and straight.
Jeff Croiter’s lighting, Jacob Grigolia-Rosenbaum’s fight direction, and Liisi LaFontaine’s sword scene with Leo Roberts made for the perfect trifecta, as it was enthralling. Anthony Chatmon II began the scene, and LaFontaine finished it with grace and sass. “The World We Live In,” I consider to be one of the best songs in the musical. Liisi carries a lot of the weight of the performance and did a terrific job. She has good chemistry with Chatmon II, who is sweet and playful as Gareth. The song he shares with Liisi, “The Stowaway,” is also very nice.
When debuting a musical, the songs usually reflect the need for more work and cohesion. The set for Huzzah! Is solid with Ben Green’s melodic orchestrations and Connor Wang’s sound.
I last saw Kate Shindle almost 10 years ago in the touring production of Fun Home. Her role as the pirate tavern owner Anne Bonny is a standout with her attitude, delivery, wardrobe, and hair. Each character is well developed, and it shows in the rhythm of the performance. Kevin Pariseau as Sir John Thomas Morningwood delivers a combination of sweet and naughty that is irresistible. Josh Breckenridge, playing the multiuso Inigo Johnson, is also naughty, with an intense sensuality that coats the performance—loved seeing Michael Cusimano on the Globe stage as part of the ensemble. He had short interventions, yet hefty enough to shine among his cast members. Mike Millan as Juan Diego Santiago de Fuensalida was charming and flirtatious. Other ensemble members include Beth Stafford Laird, Tatiana Lofton, and Aaron Michael Ray.
Theatre Influencers and Theatre Critics– Edited as of 10/19
I couldn’t help but notice that one of the theatre influencers—who travels far and wide to see shows—had a thank-you card and a show pin waiting for them at their seat. Not to compare, but what’s the deal with this difference in treatment? And to clarify, dear reader, this isn’t about the pin or the card…
Edit: Unlike my last review of the Playhouse’s All the Men Who’ve Frightened Me, where the interaction regarding the review was through the comments, I received feedback behind the scenes from the paragraph above, to which I respond in this editorial, to not disrupt the flow of the review as it was.
With all the buzz around this show and its future, I recommend not missing this first creative chapter, as it is lively, funny, and fun. New audiences, fans of these faires, are definitely showing up, which is a good thing.
The choreography is by Katie Spelman; voice and dialect by Emmelyn Thayer; associate direction by Hayley Goldenberg; associate choreography by Kelsey Burns; casting by The Telsey Office, Bethany Knox, CSA, and Jimmy Larkin; and production stage management by Michael J. Passaro.
Huzzah! Is currently playing until October 19. The last Post Show Forum will take place on Wednesday, October 15.
Make sure to arrive with plenty of time to find parking, as the Halloween festivities are taking place at Balboa Park, amongst other events, and it may take longer to find a spot.
