Orange County Premiere!
Anne of Green Gables
- The Musical
book by Joseph Robinette
music and lyrics by Evelyn D. Swensson
directed by Casey Long and Kelly Todd
musically directed by Bill Strongin
choreographed by Kelly Todd
- 11/14/07 REVIEW: The Mooche
- 11/21/07 REVIEW: OC Register
- 11/21/07 REVIEW: Fullerton Observer
- 11/25/07 REVIEW: LAStageScene.com
- 12/02/07 REVIEW: LA Times Blog
- 12/03/07 REVIEW: What The Butler Saw
THEATER REVIEW
Anne of Green Gables - The Musical
by Keith David Dillon, The Mooche
November 15, 2007
In my estimation, Lucy Maud Montgomery's classic novel Anne of Green Gables would make a wonderful musical. Anne of Green Gables is an orphan's story. The orphan, a precocious chatterbox named Anne Shirley, is mistakenly adopted by a middle-aged couple from a small farm community in Eastern Canada. The story follows Anne from her clumsy early teens into an impressive womanhood; the story evokes both laughter and tears, quite often within the same scene. There must be a musical in there somewhere.
The Chance Theater is currently presenting Anne of Green Gables in the adaptation by Joseph Robinette, with music and lyrics by Evelyn D. Swenson. Putting aside weaknesses in this adaptation, the Chance has turned Anne of Green Gables into a delightful evening of theatre, for grown-up & munchkin alike. Mr. Robinette's book reads, more or less, like a direct adaptation of Montgomery's original text; you know, direct quotes from the original text turned into dialogue. Whether or not that's the case, the story is told with its original strength and power. The main trouble with this adaptation lies in the score. Ms. Swenson's score is a series of simple, uninteresting tunes, many of which were derived from 19th century hymns and folk songs. Frankly, the songs quite often bring the story to a crashing halt.
Once the material's been settled on, however, the best a production can hope for is to play to the material's strengths. As The Chance Theater makes clear with this production, this material's chief strength is found in Lucy Maud Montgomery's original story. Anne is an exuberant little girl who would prefer to be called "Cordelia" (Lear's youngest, I suppose). In one fell swoop, she learns that she is lovable and that she can love in return. In the very same moment, she meets the two people who will be the chief objects of her love for the next ten years of her life. Throughout the evening, I found myself, in turns, both giggling with delight and misty eyed.
Anne of Green Gables is a storyteller's tale; it's not so much slice-of-life realism as it is a yarn that storytellers must spin. Directors Casey Long & Kelly Todd have put together a cast of superb storytellers and this cast tells their tale with delight & abandon. Jessie McLean plays our precocious waif Anne Shirley. Through the course of this play, Ms. McLean follows a span of Anne's life that takes her from the confusion of a twelve year old orphan to the stability of Anne's young womanhood; by the end of the play, Anne has a mother who depends on her and a man who very much wants to love and make a life with her. Ms. McLean's superb acting allows us to watch a child grow up right before our very eyes. We grow close to Anne as the play progresses, almost as if she were a real child; her pains are our pains, and her joys are ours as well.
Lewis R. Crouse II & Dianne Manaster play Anne's adaptive parents Matthew & Marilla Cuthbert. Ms. Manaster's Marilla is a no-nonsense kind of woman. Yet, against her better judgment, she takes Anne in; someone has got to give this child a Christian education. Ms. Manaster delivers a zinger of a performance; we watch her grow deeper in love with Anne as the moments roll by, and following Matthew's death, Anne's love and loyalty becomes her chief prop. Mr. Crouse' Matthew is a teddy-bear of a man. He falls in love with Anne almost instantly, and he makes no secret of his love, either. Mr. Crouse's Matthew is easy to like, and Anne relies on him for little reminders that everything's gonna be okay.
Ana Maria Campoy has a gorgeous smile and is quite charming as Anne's best friend Diana Barry. Andrew Eddins as Gilbert Blythe is a good enough actor, and his Gilbert is a likable young man. Tanya Raisa Mironowski is double cast as the busybody Rachel Lynde and the mysterious Aunt Josephine who's enchanted by Anne & Diana proffered oath of friendship. There are clear differences between each of these characters, and, frankly, it took me a moment to realize they were played by the same actress. Her work is sharp, and as Rachel, her sneering hypocrisy is very funny. Finally, there is the distinguished work of the young Ms. Sarah Pierce as Minnie May Barry. Given the clarion beauty of her speaking voice, the clarity of her diction and the pathos of her acting, I would say Ms. Pierce has a future in Shakespeare.
Katherine Futterer's set is basically a platform surrounded by leaves from the original book. It's a wonderful place from which to tell a classic children's tale. Masaku Tobaru's lighting functions almost as an "act" curtain between tableaus, and Mitchell Kohen's sound design lets us hear what this farm community in Eastern Canada sounds like. Erika C. Miller's costumes are both functional and beautiful. In addition to playing a number of small roles, Bill Strongin serves as music director for Anne of Green Gables. He plays the music on a small spinet directly upstage of the action; again, the music isn't memorable, but that isn't Mr. Strongin's fault.
Anne of Green Gables is a terrific chance to bring your family to see a play. Anne of Green Gables is a classic tale, a tale we've all grown up with, and this production tells that tale with all its original sweep and power. This is the kind of theatre that may cause your little ones to weep, not because something on stage has scared them, but because they've come to care about the people in the play.
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THEATER REVIEW
Charm of 'Anne' translates to stage
Review: Winsome musical in Anaheim seems geared especially for children.
by Eric Marchese, OC Register
November 21, 2007
When Canadian author Lucy Maud Montgomery penned "Anne of Green Gables" in 1908, she intended it as fiction for all ages.
Her chronicling of a red-haired orphan girl with a vivid imagination who grows up on a farm in Avonlea, Prince Edward Island, became a hit, setting the stage for seven more books.
Since its arrival, the "Anne" series has come to be regarded as a work of children's literature more than something of interest to adults. The first book has been filmed numerous times and adapted for the stage.
Joseph Robinette's relatively new musical version for the stage retains the same innocence and charm as its predecessors, with songs by Evelyn D. Swensson to provide more emotional resonance. The Chance Theater's staging, the show's Orange County premiere, proves that although the story of the colorful Anne Shirley is enjoyable for all age groups, it's children - especially those in the age group of six through 16 - who are most likely to enjoy it.
Robinette's libretto draws things in the sort of broad strokes easily understood by younger audience members, while Swensson's songs - some original, others adapted from hymns and traditional and pop songs - are brief, as would befit a child's attention span.
Ironically, the music, consisting of such traditional fare as "Amazing Grace," "Deck the Halls" and "Pomp and Circumstance," is pleasant but adds little to the proceedings. Of Swensson's originals, only the children' lively "I Dare You" is noteworthy.
The plot should be familiar to anyone who knows literature: Anne Shirley (Jessie McLean) is adopted by Marilla and Matthew Cuthbert, a childless farm couple (changed from brother and sister in the novel) who long for a son - not only to keep them company, but to assist Matthew in running the farm.
Their disappointment in the orphanage's sending them a girl, and the stern Marilla's disapproval of Anne's frivolous personality, leads them to decide to send Anne back.
The young lady doesn't take rejection well, and her dramatic entreaties cause them to reconsider. Soon, she's part of the family, suffering various misadventures but also enjoying triumphs.
She uses linament instead of vanilla in a cake recipe, serves potent wine instead of raspberry cordial to a friend and breaks her leg on a dare to scale a rooftop - but she also saves a seriously ill young girl's life, is an excellent student and earns her keep with her chores. Her gratitude to the Cuthberts makes her long to do them proud.
The sociable chatterbox is easily hurt by comments about her hair color, fair skin and freckles - traits all well-defined by the bubbly, winning McLean. Like another red-haired orphan girl, Little Orphan Annie, Anne's spirit brightens the lives of everyone she meets.
At first, the gruff Marilla (Dianne Manaster) tells Anne "there's no time for imagination" in their hardscrabble lives. She realizes, though, that Anne needs a proper upbringing (not to mention "moral guidance"), setting up a basic conflict: Pragmatism and common sense versus the virtues of creativity and flights of fancy.
With a character arc that takes her from no-nonsense old maid to one who truly appreciates and loves the quirky young lady, Manaster delivers the staging's most affecting performance.
Lewis R. Crouse II is a convincing old softy as the graying, easygoing Matthew. Ana Maria Campoy makes a charming counterpart to McLean as Diana, Anne's best friend. Andrew Eddins nicely understates the role of Gilbert Blythe, the smartest, most handsome boy in the class who wants to befriend Anne but can't live down the one time he teased her about her hair.
The cast's young adults offer convincing portrayals of schoolchildren. More than a dozen of the story's adult characters are depicted with ease and self-assurance by the versatile quartet of Jeff Hellebrand, Tanya Raisa Mironowski, Bill Strongin and Neena Tilton.
Strongin's musical direction is solid, yet McLean and Eddins aside, the production offers no impressive vocals. Casey Long and Kelly Todd's staging, with choreography by Todd, is certainly an attractive one, beginning with Erika C. Miller's nifty period costumes.
Katherine Futterer's scene design completes the show's look, consisting of a raked, unfinished wood platform flanked by door-size, age-yellowed pages from Montgomery's book. The scene changes, cued by rear-projected photos designed by Long and Masako Tobaru, add yet another dimension to a well-crafted staging ideal for families.
Freelance writer Eric Marchese has covered entertainment for the Register since 1984.
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THEATER REVIEW
Anne of Green Gables - The Musical
by Elliot Rosenthal, Fullerton Observer
November 21, 2007
I have a confession to make. I was less than
enthusiastic when I first learned we were going to
review "Anne of Green Gables" at the Chance
Theater. After all, this play was based on a book by
Canadian author Lucy Maud Montgomery that was
first published in 1908, almost one hundred years
ago. It was fiction, originally written for readers of
all ages but for many decades has been considered a
children's book. Despite its past popularity it just
didn't seem relevant to our place and our time.
Furthermore the full title of this play is "Anne of
Green Gables - The Musical." So this production is
a musical adaptation of the original story. I wasn't
quite sure what to expect. But, as I have found time
and time again, it is unwise to prejudge ...to
prejudge almost anything.
It turns out that "Anne of Green Gables - The Musical" is a delightfully nice (how often can we use that word in the theater today) portrayal of seemingly ordinary folk who upon closer scrutiny reveal extraordinary characteristics.
The play takes place in the farming community of Avonlea on Prince Edward Island. Brother and sister, Matthew and Marilla Cuthbert decide to adopt a boy from an orphan asylum in Nova Scotia to help them work their Green Gables farm. Because of a mistake however, a young girl, Anne Shirley, is sent to them. After some heart wrenching discussions about sending Anne back, Matthew and Marilla decide to allow her to stay with them. Anne turns out to be a very precocious young lady with strong ideas and ideals about a variety of subjects. Although she is supposed to be under the charge of Matthew and Marilla, one can occasionally wonder who really is in charge.
As the play progresses we witness the development of Anne as an outstanding student, a wise and trusted friend and a worthy competitor to fellow classmate Gilbert Blythe for academic honors and subsequently, college scholarships.
Despite her obvious intelligence and talent Anne nevertheless is constantly troubled by her belief that she is unattractive. She believes that her pale complexion, freckles and mostly, her long braids of red hair are an embarrassment.
We follow Anne's life in the small community and see her interaction with both the adults of the town as well as her peers. It is a delightful journey.
Ultimately Anne wins a scholarship to prestigious Redmond College and she is now ready to ascend to a higher level. At this time however, Matthew dies and Marilla, who cannot manage the farm alone, plans to sell it. Anne, who loves Green Gables will not let that happen.
The play is done beautifully; the set, the costumes and of course, the talented cast make this performance one which an entire family; grandmas, grandpas, parents and children should see...together.
One aspect of the show that particularly struck me was the gradual transformation of Anne, played by Jessie McLean, from a bouncy young eleven year old to a poised and responsible young woman. And..let me not overlook the music portion of the show led by Bill Strongin. The songs are performed by various cast members and also by the entire company. The lyrics happily, are very relevant to the story and help to make this show a delightful evening at the theater.
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THEATER REVIEW
Anne of Green Gables - The Musical
by James Scarborough, What The Butler Saw
December 3, 2007
Lord Byron begins Don Juan with "I want a hero: an uncommon want..."
You get one, an uncommon one not named Britney or Lindsay or Paris, with the eponymous lead of Joseph Robinette's "Anne of Green Gables - The Musical," directed by Casey Long and Kelly Todd for the Chance Theater.
The show's well directed, nicely acted, and entertaining. It's clever. The songs sweetly tint the story's arc, the performances are balanced, and the costumes are to die for. It's got a message apt for a new year: peace, love, and understanding.
It is the holiday season, after all.
Long serves up a production that is kid-friendly (oodles of Sunday-dressed kids in the audience) and not a little moral. The story's about transforming aka maturing. The entire production, from Long's and Masako Tobaru's projection design to the taut performances, attests to that.
The former in the text of the book from which the story was adapted, projected onto the two side walls as well as the changing scenes projected seamlessly (miraculously) onto the back wall. The production literally emerges from the text. The latter in the characters as they learn oh-so-timely lessons of tolerance.
The latter in way in which orphaned Anne Shirley (Jessie McLean) learns to forgive. The role is a tough one. Anne's snarky but she's also loyal. She's competitive but she's also fair. She's well intentioned but she's also not a little gawky. In other words, the role requires a wide range of emotion, personality, and grit, sometimes all to be done simultaneously. McLean pulls it off, especially the final scene.
It's a perfect Christmas story. Anne doesn't exactly get a warm fuzzy welcome when she shows up in Avonlea (which, in a cockney accent, would sound like "heavenly").
It seems her parents Marilla and Matthew Cuthbert (Dianne Manaster and Lewis R. Crouse II) had expected a farm chore-helping boy. Grinch-like the mother left no doubt as to how she felt on the matter (She recanted. Phew!). Add to that the fact the lass was red headed, loud (let's call it high-spirited), moody, quick to draw a grudge, long to let one go, couldn't read a food label to save her life, and you have one ostracized child.
By dint of moxie, native wit, strong will, and a dollop of charm, Anne prevails. She saves the life of Minnie May Barry (Sarah Pierce) daughter of Mrs. Barry (Neena Tilton), and gets readmitted into Avonlea society. Then she does the right thing when tragedy befalls the family.
It's a good theme, this business of transformations. It builds character -which is what the world needs now - and suggests that hope in the guise of understanding and patience will trump despair. And which suggests that present acts of kindness will fortify grimness when it ensues.
Performances are 8pm, Thu. - Sat. (no performance Thu., Dec. 22), and 2pm, Sun. The play runs until Dec. 23. Tickets are $22-25. The Theater is located at 5552 E. La Palma Ave, Anaheim. For more info call (714) 777-3033 or visit www.chancetheater.com.
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THEATER REVIEW
Anne of Green Gables - The Musical
reviews on LA Times Blog
December 2, 2007
Ryan Roza
Newport Beach, CA
Anne of Green Gables was such a wonderful show. I really enjoyed the flow of the show. I found myself taken by the beautifully directed contrast and the complimenting talented cast!
November 22, 2007
Warren Peters
Fullerton, CA
Loved the play, it kept with the spirit of the books, though the music was juvenile, the set in minimalistic ways caught the spirit of the books. Take the kids to see this one for the holidays.
November 15, 2007
Becky
Costa Mesa, CA
What a delightful evening... great for the kids and also for adults... will move you and inspire you to dream. Super cute performances and characters, gorgeous set, beautiful costumes, and even some dancing. I highly recomend this production as a great way to get out with the family for a Christmas treat.
November 13, 2007
Barbara
Anaheim, CA
We loved the musical Anne of Green Gables!!! Great acting, staging, lighting & directing. This was a Great Christmas gift from the Chance Theater.
November 13, 2007
Nancy Jones
Nevada City, CA
This is an awesome play!!! I have read the book amany times, and seen the movie also, and this play is true to the story. The actors are well fitted for the parts, and do well in telling this wonderfull story. I would reccomend this to anyone, especially those who know the story.
Write your own L.A. Times review about this production.
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THEATER REVIEW
Anne of Green Gables - The Musical
by Steven Stanley, LAStageScene.com
November 29, 2007
Young girls in Orange County will love The Chance Theatre's production of Anne
of Green Gables: The Musical. Based on the first and most famous of Lucy Maud
Montgomery's eight Anne Shirley books, this adaptation by Joseph Robinette and
Evelyn D. Swenson adds songs to what has already been a 1919 silent movie, a
1934 Hollywood film (starring interestingly enough Anne Shirley), a 1956 TV
production, a British mini-series in 1972, a four-hour TV movie in 1985 which
spawned two sequels, and even a Japanese anime series. (And who knows how
many other versions are out there?)
For those like myself not acquainted with Miss Shirley's story, the titular Anne was a rather chatty orphan who was sent to live with "an old maid and an old bachelor" -by mistake. (The old maid wanted a boy to help with farm work.) Anne had a When Harry Met Sally friendship with Gilbert Blythe (who became her husband, though not in the first book), a friendship with a properly brought up "good girl" named Diana Barry (which was temporarily interrupted by Diana's parents' objections to Anne's "bad girl" behavior), and (eventually) a loving relationship with her adoptive parents (unmarried siblings Marilla and Matthew Cuthbert).
Men and boys be warned: Anne of Green Gables - The Musical does not try very hard to appeal to audiences outside its demographic. Adults will not find the kind of "sails over the heads of children" humor that makes Disney and Pixar animated films so popular with all ages. And boys would most likely prefer Treasure Island: The Musical, if such a thing existed. But young girls will eat up this show, and so I'm sure will mothers and grandmothers who grew up reading the Anne Shirley books.
The Chance, as might be expected, has assembled an excellent cast. Jessie McLean is winning as spunky Anne. With her non-stop chattering about her unfortunate red hair and dull name ("Call me Cordelia, or at least spell my name with an -e."), it's easy to see why Anne alienates certain residents of Avonlea.at first. But in McLean's capable hands, Anne wins over even the grouchiest hearts. Dianne Manaster is properly spinsterish yet warm-hearted as Marilla and Lewis R. Crouse II, with his mountain-man mane of gray hair, looks like he could have stepped out of one of the illustrations of the book's first edition (assuming it had illustrations). Ana Maria Campoy is as sweet as berry pie as Diana, and the scene where Anne and Diana "talk elegant" and a later one where Diana gets sloshed on cherry cordials are amusing indeed. Andrew Eddins is a handsome and ingratiating Gilbert, lending his pleasant singing voice to the title song. Tanya Raisa Mironowski gets to shine in two roles, as busybody Rachel Lynde, and as Diana's grouchy (before Anne wins her over) Aunt Josephine. Neena Tilton has even more fun playing four roles. She's especially funny as Anne's spinster schoolteacher and a hoot as the town pastor's nasal voiced wife. Chance regular Jeff Hellebrand does well in four roles, and musical director Bill Strongin (who provides the excellent piano accompaniment for the show's dozen and a half songs) plays three parts, the most memorable of which is the very very French Professor Engerrand. I found Strongin's French accent (which seems to have several more nasal vowels than the actual French language) to be the funniest thing in the entire production. (I love over the top foreign accents). Andrea de la Luz Ainsworth, Shannon Cudd, Peter Schnake, and Damon Hayes are very good as Anne's classmates, and little Sarah Pierce as Minnie May, Diana's initially bratty baby sister, scores twice-first, chewing the scenery as Minnie May imitates Anne's way of overreacting to everything, and later, dramatically, as feverish Minnie May struggles for her life. (Don't worry, girls. She doesn't die.)
Chance members Casey Long (in his mainstage directorial debut) and Kelly Todd
(who also choreographed*) have done fine work directing Anne of Green Gables:
The Musical. They clearly understand and have an affection for the material.
Katherine Futterer's set design is simple but effective. On either side of the stage
are two sets books, open to pages from the novel, and the rear projections (by
Masako Tobaru and Long) introduce and end each act with Lucy Maud
Montgomery's printed words, and provide quick scene changes to whatever
location is being projected behind the players. The stage is illuminated by Tobaru's
warm lighting design. Erika C. Miller (best known onstage as Cabaret's Sally
Bowles and Into the Woods' Cinderella, among other roles) proves herself an
expert costumer with her sumptuous designs.
*Todd's choreography for "The Charlestown Rag" is charming.
Still, for all the deserved praise I have heaped on the cast and crew, I must confess that Anne of Green Gables: The Musical did not captivate me as did such Chance triumphs as Into The Woods, Cabaret, and Sunday in the Park with George. I would guess that those outside the show's target audience may well find it to be a bit of a yawn. But hey, the young girls who will eat up this production wouldn't have been able to sit through even half an hour of the edgy, adult entertainment that makes the Chance a must-attend theater for me. Lovers of "Little Women," "Little House on the Prairie," "Pollyanna," and of course the Anne Shirley books (that is to say the half of the human race who are sugar and spice and everything nice), will adore the Chance's Anne of Green Gables: The Musical. For girls of all ages, this is first-rate holiday entertainment.
THE CHANCE THEATER:
5552 E. La Palma Ave., Anaheim, CA.
Through December 23, 2007; Thu., Fri. Sat. 8 p.m., Sun. 2 p.m.
For Information and to Purchase Tickets:
CALL: (714) 777-3033
WEBSITE: www.chancetheater.com
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