Let's talk about the revival of two iconic musicals, 'Brigadoon' and 'Flower Drum Song', and the fascinating insights they offer into the world of theatre and our cultural landscape. Personally, I find it intriguing how these Golden Age shows, despite not being the most renowned works of their creators, continue to captivate audiences and inspire makeovers. It's a testament to the enduring power of musical storytelling.
'Brigadoon', with its romantic fantasy and mystical Scottish setting, has seen a soaring revival at Pasadena Playhouse. The show's airy-fairy book and romantic hokum might seem outdated, but playwright Alexandra Silber's fresh adaptation brings it into the 21st century. Silber's modernization of the male characters, particularly Tommy Albright and Jeff Douglas, is a delightful twist, creating a comic chemistry reminiscent of Gene Kelly and Van Johnson.
What makes this adaptation particularly fascinating is how it empowers the female characters. Fiona MacLaren, the unmarried heroine, challenges chauvinistic assumptions, and Meg Brockie, once a town floozie, becomes the keeper of Brigadoon's culture and language. Silber's transformation of Mr. Lundie into Widow Lundie, played by the talented Tyne Daly, further recalibrates the values of this theatrical world. This adaptation not only updates the story but also adds depth and complexity to the characters, making them more relatable and engaging.
The production's dynamism in singing and dancing is a highlight, with Katie Spelman's choreography adding a unique stamp to the original. The cast, especially Max Von Essen and Betsy Morgan, bring eternal life to Tommy and Fiona's numbers, creating memories that will last a lifetime. It's a testament to the power of music and storytelling.
Now, let's turn our attention to 'Flower Drum Song', a musical with a more complex journey. This revival, a co-production between East West Players and the Japanese American Cultural and Community Center, aims to provide a deeper authenticity and reflection of the Asian American experience. The original musical, groundbreaking in its time, showcased Asian American performers and explored generational conflict. However, stereotypes and old tropes persisted, leaving a community with mixed feelings.
David Henry Hwang, the Tony Award-winning playwright, set out to reimagine the characters from a contemporary Asian American perspective. His second crack at revising the book is an ambitious attempt to root out offensive stereotypes. The production features talented actors, with Grace Yoo's performance as Mei-Li being particularly captivating. However, there's a tension between the update's good intentions and the musical comedy genre's tendency to traffic in caricatures. Hwang's creation of the character Harvard, a swishing stereotype, raises questions about the humor employed and its impact on the overall message.
This take on 'Flower Drum Song' falters between eras, struggling to balance its desire for authenticity and the need to create amusing caricatures. It's a delicate tightrope walk, and one that highlights the challenges of updating classic musicals to reflect changing cultural sensitivities.
In conclusion, these revivals of 'Brigadoon' and 'Flower Drum Song' offer a fascinating glimpse into the world of musical theatre and its ability to evolve and adapt. While 'Brigadoon' soars with its successful modernization, 'Flower Drum Song' falters in its attempt to navigate the complexities of representation and cultural authenticity. These productions remind us of the power of storytelling and the ongoing dialogue between art and society.
