Theatre 29 opened its’ latest production of the magical musical adventure “My Son Pinocchio: Geppetto’s Musical Tale” this past Friday.
The tale of Geppetto and his pine wood puppet, first serialized in an Italian juvenile magazine under the title La Storia di un Burattino (The Story of a Marionette) in 1881, was turned into a book two years later called, “The Adventures of Pinocchio” by author Carlo Collodi. Over the next 140 years, countless iterations of the puppet who would become a real boy have been created in mediums literary and in the performing arts, television and film. Arguably the most famous of these being Walt Disney’s film adaptation of “Pinocchio” in 1940, which has become the modern gold standard of the tale, itself spawning countless reinventions of the story.
One such Disney incarnation was the made for TV movie “Geppetto” in 2000 which starred Drew Carey. This became the basis for the stage musical “My Son Pinocchio: Geppetto’s Musical Tale”, playing now at Theatre 29. With an enhanced score by legendary composter Stephen Schwartz, the musical mind behind “Godspell” and “Wicked” and book by David Stern, this new stage adaptation slightly warps the classic tale to be told from puppet maker Geppetto’s viewpoint.
In this current production, performer John Pollnow takes up the apron of the humble craftsman. Pollnow portrays the character here, not as the sweet slightly befuddled wood carver we all know from the classic film, but as a man who, upon getting what he thought he always wanted, discovers he was not ready for what comes with being a Dad. Grumpy, disapproving and full of unreasonable expectations, this Geppetto truly goes through the wringer in his quest to become a parent, warts and all . With a strong baritone and delivery equal parts comedic and dramatic, his portrayal carries the production. In the role of the little wooden lad Pinocchio is 10-year-old Eli Young. In his first main stage production, the audience would never know he was not a seasoned veteran. With a soaring lyric tenor and an innate instinct in being able to provide the audience a wink and a nod before being naughty, this is a talent to watch. The chemistry between this instant father and son reads well.
The glue that holds the show together, as a sassy foil to our Dad in training is The Blue Fairy, played here by theatre favorite Robin Wilson. She is flanked by her cadre of “Fairies in Training”: Britney Vachon-LaGuardia (Arancia), Samantha Stevens (Viola), Kimberly Sontaag (Rosa) and Maryam Langdon (Sue). Ms. Wilson’s swagger as the “fairy with the 100% satisfaction guaranty” is undeniable. When Geppetto tries to get the Blue Fairy to “take Pinocchio back” because he must be defective, this fae takes no guff. It is through her “magic” that this memory play takes place, replaying the elements of the story we all know but from a third-party lens. Her compadres with wings are all sugar, spice and everything nice…well except for the goth fairy Sue. Sue, played by Maryam Langdon, you could say is the “truth teller”. Her dead-pan sarcastic delivery, her blatant honesty amongst the more temperate platitudes of her sisters easily steals every scene she is in. Her use of a wry grin when she makes a specifically stinging quip is darkly charming.
Every drama needs a good villain, in this story it is the puppet master Stromboli, here played with gusto by newcomer Adam Shows. Conniving and more than a little unhinged, this Stromboli and his menagerie of puppets adds dastardly deeds and a touch of madness that is unexpected and refreshing. Mr. Shows brings a strong presence, solid vocals and a total commitment to his character creation. It is hoped this debut will lead to many more roles for this gentleman. The rest of the ensemble including the “perfect child” machine inventor Buonragazzo, played by Joe Rego and his huckster assistant Junior played by Donivan Cox. Many a parent might have been wondering where to buy such a contraption! Kat Cheek as the belting provocateur Signora in the donkey laden Pleasure Island and the remaining corps of Michelle Alley, Dennis Boos, Tiffany Crocker, Lula Allen, Nolan Viloria, Harper Crow, Julia Bazan, Kaleb Sinclair, Ely Zehn and Eli Amaro filled out the various denizens of this world with fun and frolic.
Director Gary Daigneault has created another family friendly production that will touch the spirit from many different directions. Kids will enjoy the accessible lessons of not always being understood by adults and being under sometimes unreasonable expectations while their parents can appreciate the pressures, failures and rewards that parentage brings in the real world. All will enjoy the comedic moments and the heart touching ones. First time main stage Musical Director Bianca Stoker, who has cut her teeth in that role though the Summer Youth programs at the theatre, did a solid job of keeping the vocal quality consistent amongst the various levels of expertise and natural skill. Choreographer Lisa Hodgson dealt with the limited dance opportunities of the script well, particularly with the Marionettes (Michelle Alley and Ely Zehn). Mr Daigneault’s set design was as simple as required, with a rolling cart for the toy shop and the professionally painted backdrop and stage extension walls by artist Kevin Maddrey. It established the scene while not being cumbersome with all the performers on stage, being one of the largest casts since the resumption of live performance post pandemic. Nena Jimenez’s sound design blended well without drowning out the vocals nor overpowering the audience. Mrs Hodgson’s lighting design ensured everyone had their moment in the “sun”. The costume design by Tera Bottorff, with assistance by Kathryn Ferguson and Cindy Daigneault, was universe appropriate and colorful. The makeup effects for the fairies and Stromboli were effective and (in the latter case) appropriately creepy.
With classic songs “When You Wish Upon A Star” and “I’ve Got No Strings” having been included in this score, the audience I attended with had more than one patron singing along in wistful memory. If you are looking for a nostalgia escape that the whole family will enjoy, don’t miss out on “My Son Pinocchio: Geppetto’s Musical Tale”. At about an hour and a half long, it will not make for a late evening, but it will leave a song in your heart. “My Son Pinocchio: Geppetto’s Musical Tale” will be playing at Theatre 29 Friday and Saturday evenings at 7:00PM and Sunday matinees at 2:30PM through May 28th.
Tickets are available at theatre29.org/tickets, by calling (760) 361-4151 or at the door.
