Vanguard resurrects ‘Brigadoon’

Tom Titus

There aren’t many musicals around like “Brigadoon” anymore.

Like its Irish contemporary, “Finian’s Rainbow,” this romantic

sojourn into the highlands of Scotland seems to have vanished into

the mist, much like the village it celebrates.

When this fanciful Lerner-Loewe musical does make an appearance

locally, it is quite often an occasion to cherish. Extra care and

handling usually are applied to facilitate full realization of the

production.

“Brigadoon” really needs a large, proscenium performing area for

maximum effect, once the villagers start dancing and the

tartan-wearing clans start marching, which is why its luminous

success on the small thrust stage at Costa Mesa’s Vanguard University

is somewhat remarkable.

Vanguard’s “Brigadoon” is an intimate epic, a full-blown

production delivered almost into your very lap. Director Amick Byram

has negotiated pathways through the aisles that are put to maximum

use, particularly during the frantic chase scene in the second act.

Byram has added some topical updating -- a cellphone, a reference

to Britney Spears -- that place the show firmly in the 21st century,

while the village itself remains ensconced in the early 18th. His

motive for the changes is to more fully realize the author’s original

intent, and it succeeds effectively.

The story -- first unveiled on Broadway in 1947 -- revolves around

a pair of American tourists (Michael Mulligan and Rene Scheys) who

just happen to be lost in the highlands when the town of Brigadoon

makes its once-a-century appearance. Since things need to happen

within a 24-hour time period, the romance that develops between

Mulligan and town beauty Fiona (Heaven Peabody) may seem rushed, so

the actors must portray, convincingly, their love at first sight.

This they do delightfully well. Mulligan’s character (who has a

fiancee back in the states) becomes instantly enamored of Peabody,

even though they’ll never see eye to eye -- he’s nearly two heads

taller. Nevertheless, Mulligan projects his romantic conversion

convincingly, backed by a fine singing voice.

Peabody, apart from her physical beauty, possesses a set of vocal

cords that are, well, heavenly. Hers is the finest voice in the

company, enhancing her duets with Mulligan on “Heather on the Hill”

and “Almost Like Being in Love,” and her acting is first rate, an

exquisite performance.

Scheys’ sarcastic character spends most of his time popping his

buddy’s romantic balloons and resisting the advances of a lusty

Scottish maid (Caitlin Macy-Beckwith) who jumps feet-first into the

role of the man-hungry Meg. Those familiar with only the movie

version of “Brigadoon” will welcome the inclusion of her rollicking

solo, “My Mother’s Weddin’ Day,” unfortunately excised for the screen

in a more provincial time.

Jeff Fazakerley brings a fine singing voice to his bridegroom

character, Charlie, as he sells the ensemble number “I’ll Go Home

With Bonnie Jean.” The latter character is danced beautifully by

Megan Elliott, while Tim Zimmer strikes visceral dramatic sparks as

her rejected suitor, Harry Beaton, whose rage poses a life threat to

the entire village.

Freddy Ingels has some excellent moments as the wise town elder

who explains the strange spell under which Brigadoon exists. Mark

Parker is quite good as Fiona’s father, and Scott Faring effectively

portrays Harry’s shamed father. Back in the USA, Mary House as

Mulligan’s betrothed demonstrates, with her nonstop inane chatter,

just why her beau’s heart is still in the highlands.

Choreographers Allison Bibicoff and Lee Martino have expanded the

dimensions of the Lyceum Theater’s stage, at least in the audience’s

mind, with some intricate dance moves as well as a fast, frenetic

chase sequence. Tim Mueller’s outdoor set design is particularly well

fashioned, as are Dan Volonte’s sound and lighting effects.

Musical director Len Wicks and the college’s eight-piece orchestra

have provided “Brigadoon” with a stirring accompaniment. And, thanks

to head mikes worn by all the principal singers, there’s no danger of

the music overriding the voices.

“Brigadoon” is a wonderful, colorful and fully melodic revival of

one of Broadway’s most romantic musicals. The Vanguard University

production beautifully demonstrates how big things can happen on

small stages.