Who killed “Jane Eyre the Musical”? Major Underscore in the Drawing Room with a Piano

Art Anderson and Jessica Spencer  in Jane Eyre at Taproot Theatre (photo by Erik Stuhaug)

Jane Eyre the Musical

Taproot Theatre

Starring Jessica Spencer, Art Anderson

Through August 16, 2014

The rather unfortunate musical, Jane Eyre, is being presented by Taproot Theatre, currently. It is a rare misfire for the company, though I can understand reasons why this company would really like the content (in a moment). An able cast still cannot succeed in making this musical more than palatable, unless your particular enjoyments include dour, unpleasant and almost hopeless circumstances.

If you know the Charlotte Bronte book, the basic story is included, though it experiences more like the greatest moments hits than an adaptation that works to include the feeling and scope of the novel. This is not inventive writing. In fact, it misses from the very beginning scene.

Jane comes out as an adult to begin telling us about her very unfortunate and difficult childhood. Here is a major opportunity to show us that she ultimately triumphs in the end (this should not be a spoiler). Here a song could be that says something like, “I thought it was hopeless, I had no reason to believe that a good life lay before me, yet here I am today to tell you that, but for the grace of God, I am happy and …” etc. Instead, the unidentified-aged Jane immediately plunges us into her childhood starting with a rousing song of, “Beat the liar out of that nine year old.”

Exhilarating Taproot play is completely up-to-date despite being written in 1908!

Helen Harvester in Diana of Dobson’s. Photo by Erik Stuhaug.

I always expect plays at Taproot Theatre to be well-done in most every respect. Technical support (sets, costumes, lights, sound) is always appropriate, actors are all solidly talented, and the experience is invariably pleasing, at minimum.

Every once in a while, they blow even that high expectation out of the water and their current production of Diana of Dobson’s is one such occasion! The play is a gem of a script by Cicely Hamilton. It focuses on a shop girl whose humdrum and restricted working conditions are similar to any minimum-wage earner or factory worker in our current economy. She unexpectedly receives an inheritance and, despite pleas from her fellow workers to be careful and save her money, decides to blow it all in one glorious month of pleasure that she can remember forever.

Taproot's "Pretty Fire" is one hot production

Tracy Michelle Hughes in Pretty Fire (Erik Stuhaug)

Pretty Fire

Taproot Theatre

Through March 22

Taproot’s new black box theater space is getting some inaugural productions and ramping up their workload around there. This month’s production is Pretty Fire, originally written and performed by the amazing Charlayne Woodard, who is a past-master at telling stories alone on stage. Ms. Woodard has performed in Seattle, often at Seattle Repertory Theatre, in the past. If she comes again, please make sure you do everything you can to see her work in person.

But Taproot is providing a real treat by allowing the amazing Ms. Tracy Michelle Hughes to perform the piece. Hughes has performed the piece before, some years ago in Los Angeles, so she brings a familiarity to it that is helpful to the overall effect. Her vigor and commitment to the work is completely submersible into the story at hand, and she makes it her own.

This story begins with a description of Charlayne Woodard’s birth as a preemie whose tenacity becomes part of what makes her the unique person she is. The large, involved family and in particular, the bossy, imperious, and loving Grandmother that holds everyone together, provide the atmosphere that Woodard grew up with.

Woodard’s play is not shy about exposing racism, poverty, Jim Crow, political upheaval, and other difficulties of her life. But she is able to do so with a personal reference point that makes it more powerful and identifiable.

She also writes about fun and enjoyable moments in family life and entwines her family’s religious routines and beliefs, as well. In this piece, the focus is on how she developed her love of performing and how she came to be thrust on the stage in the first place. A cheeky description of Grandma’s dying wish creates a clear understanding of how young children are manipulated, sometimes for their own good, into trying things they find they love.

Hughes’ performance is heart-warming and touching as she performs with only a bench and flowy, easy-to-move clothing and a versatile scarf. Director Nathan Jeffrey provides the rest of what is needed and weaves together the great sound design by Jacob Yarborough, and lighting from Roberta Russell in a seamless production.

Pretty Fire is a proven piece of writing with a talented performer. It is a beautiful and moving evening of theater. It deserves to be seen.

For more information, go to www.taproottheatre.org or call 206-781-9707. 

Review: Mr. Pim Passes By is a lovely drawing-room comedy for a delightful evening

April Poland and Ryan Childers in Mr. Pim Passes By (Erik Stuhaug)

Most people know A.A. Milne, if they know him, from his wondrous creations in Winnie the Pooh. But he wrote many more stories and even plays. One of his theatrical creations is currently on stage at Taproot Theatre. Mr. Pim Passes By is what is termed a “drawing-room comedy,” taking place entirely in one room of a turn of the century house, and often focusing on manners of the time.

This gentle comedy has a lovely cast with just the right style of arch delivery, mostly from leading lady, April Poland. Poland plays Olivia Marden, fairly recent wife of the middle aged master of the manor, George Marden (Ryan Childers), a man set in his ways, but crazy about his new wife. Olivia never goes about stamping her foot and confronting her man. She seemingly meekly accepts his edicts (“No, you can’t put up patterned curtains in my established old home”), yet continues sewing curtains confident in finding a way to bend him around her finger and get her way.

Mr. Carraway Pim (Chris Ensweiler) is actually a mild-mannered occasional popper inner, who is mostly a device to deliver partial bits of information that stir the household into a tizzy. His remembering more bits of information and popping back in to deliver them creates continuing moments of changing tizzy. It’s enjoyable fun, though it doesn’t stack up to anything more meaningful. Drawing-room comedies general don’t.

The main pleasure is in watching the actors have fun with their characters, which they all do. A darling performance of note is the youngest character, a ward of Marden, Dinah (Allie Pratt) who folds Mr. Pim into the family and tells him all sorts of secrets in a charmingly offhand way. She is matched in her charm by Daniel Stoltenberg as her almost fiancée, Brian Strange, who, as a painter, does not earn enough for Marden to take him seriously as a suitor. Olivia must find a way to convince her husband that Brian will manage and he should let the match take place.

A fun cameo role of “Aunt” Lady Marden has Kim Morris sweep in and wave her hands about and strut out, and Ginny Hollady maintains social prestige as the maid. They are all veddy British, of course, and lovely costuming (as always) is reflected of the period by Sarah Burch Gordon.

Director Karen Lund is a past master at this type of play, with Taproot liking to produce so many of these lovely, light productions. And set and sound designer Mark Lund has done so many plays here that he probably has every measurement ingrained in his brain. They’ve got it down!

If an entrancing evening is desired and the most taxing thing you want to think about is to wonder whether Olivia really will solve everyone’s problems, this is definitely the play for you. Suitable for all ages. For more information, go to www.taproottheatre.org or call 206-781-9707.