Reefer Madness: The Musical
|
Book by Kevin Murphy and Dan
Studney
Music by Dan Studney Lyrics by Kevin Murphy Music Direction by Mason Stewart Choreography by Kathy Todd Chaney Directed by Craig Nolan |
Reviewed by J. Barrett Cooper
Entire contents are copyright ©
2012, J. Barrett Cooper. All rights reserved.
 |
| Jeff Mangum, Richard Goff and David Borgelt in Reefer Madness, The Musical. Photo by Craig Nolan Highley. |
On Friday
last, Wayward Actors Company kicked off their tenth season with a rousing,
rollicking and somewhat uneven performance of a musical based on the 1936
church-based propaganda-film-turned-cult-classic, Reefer Madness.
The story
revolves around the perfect American teenage couple, Jimmy Harper (Richard
Goff) and Mary Lane (Taylor Buchanan). Both are bright, studious, and so, so much
in love as their little 1930s hearts could be. They are destined to a life of
small-town pink houses and picket fences. However, call it fate, destiny or
what-have-you, but their lives are torn apart by the insouciant evils of the
“demon weed” Cannabis Sativa! Jimmy is unknowingly lured to a den of sins by tough
guy Jack Stone with a promise of dancing lessons. But what he finds is a house
of THC-fueled bondage, sex, slavery and violence. Jimmy’s girl, Mae (Kathy Todd
Chaney), was once an innocent teenager until Jack got her hooked on the stuff,
and now she lives in misery. Also in the house are super-sexy-over-sexed Sally
(Meredith McBride) and Ralph (Craig Nolan Highley), a man whose mental growth
has been stunted by his addiction to the “Mary Jane.” What ensues is a descent
into madness, despair, suicide, car chases, violence, lectures, and hallucinations
of Goat Man (Jeff Mangum) and Jesus (David Borgelt). Everything you’d want from
a musical.
Craig
Nolan Highley has directed a fun evening. His use of the stage at the MeX is
well done. However, the action does come to a screeching halt with some
ill-timed and show-stopping (literally…the show stopped) set changes, which was
a “buzz kill” to the non-stop action. However, he was able to keep a “lid” on
the actors from going too far with the craziness that could have spun out of
control. In my opinion, his use of the Stage Manager, Janice Walter, as a
character was not needed and was rather incongruous to the action.
The cast
fared well. Aside from some opening night jitters, the large cast was game and
put a ton of energy into the dance numbers (fantastically choreographed by
Kathy Todd Chaney). Richard Goff (Jimmy Harper) was the picture of innocence
and captured the purity and the angst of small town boy and drug-addled freak.
His counterpart, Taylor Buchanan (Mary Jane…yes, I believe the pun is intended),
was just stellar as the girl of Jimmy’s dreams – the perfect Juliet to his
Romeo. These two young actors showed bright through the haze. Their voices were
clear and strong, only somewhat overshadowed by the music at times, due to the
fact that no one was amplified. This could at times prove a liability. I
appreciated the fact that this was done. It’s not easy to do; and for the most
part, everyone was able to top the musical accompaniment – not all. But I do
worry about their voices having to push. I also realize budgetary concerns
might have precluded the procurement of microphones.
As for
the dope pusher gangster Jack Stone, Daniel Smith was physically a man of
intimidation which, unfortunately, was not used to good effect. I feel that a
good dose of genuine violence and threat would have counter-balanced the parody
of the play itself. Mr. Stone does not have the strongest voice, but his intent
was there. His girl Mae (Mary Todd Chaney), a slave to her addiction, had a
nice turn in the number “The Stuff.” But I felt her performance was not as
committed, in the sense of energy and timing, as others, which left an
imbalance to her scenes. However, Ms. Chaney’s strength was very apparent as
the choreographer of the show. Numbers such as “Down at the Ol’ Five and Dime”
and “Open the Gates” were smokin’! Stellar job.
The two
other denizens, Sally and Ralph, were gamely played by Meredith McBride and
Craig Nolan Highley. Ms. McBride used her statuesque figure and red hair to
seductive and lustful effect, while also being able to portray a tragic sense
of a woman so desperate that she sells her baby in order to support her habit.
Being a father myself, I usually find this revolting. And although it’s played
with a sense of fun and comedy, “Lullabye,” sung by Sally’s Baby (played by
Dennis “Denny” Grinar), drew me to the ultimate tragic core of the story, which,
of course, is that marijuana isn’t just a stepping stone drug. It IS the THE
drug! Mr. Highley, who also directed the piece, plays Ralph, a man so retarded
by his over-use and abuse of the drug that his days are spent listening to the
furious piano playing of Sally and where he can score some more. Mr. Highley
teeters on the edge of ridiculous but never fully allows himself to lose his
sense of propriety, which could have been easy to do with this character.
Others in
the cast of note are Karissa Kathryn, who played Miss Poppy, the malt shop
owner who is also a bawd for the gangster/pimp/pusher Jack Stone. She has a
wonderful presence and a strong voice. Two performances which make the evening
very fun are Jeff Mangum’s (Goat Man) and David Borgelt’s (Jesus). Mr. Mangum’s
super abundance of body hair and his laissez-faire attitude towards the deflowering
and degradation of our hero and heroine was fun to watch. Mr. Borgelt’s stint
in the role of Our Lord and Saviour, Jesus the Christ, was one of sheer
enjoyment. His voice was strong, but amplification would have really benefitted
what this reviewer took to be a definite musical nod to the Lloyd Webber/Rice Jesus Christ Superstar, with moments
where I could hear Ian Gilliam screeching his famous rendition. Mr. Borgelt’s
almost prissy presence of purity and good was a wonderful counter to Mr. Mangum’s
Goat Man.
The
chorus was physically able and willing, but lacking in vocal power as an
ensemble. Dance numbers were strong and wonderful to experience. But, even
without amplification, I was a bit disappointed by the lack of all-out sound.
Other voices, such as Mr. Goff and Ms. Buchanan, were well able to rise to the
occasion.
However,
the strongest performance of the evening belonged to Mr. Ted Lesley. The
Lecturer begins the evening by going through the mandatory “curtain speech” and
then launches right into the action of the play itself. Nice touch, although
there was a clear delineation between curtain speech and scripted material; it
would have been very strong if there had not of been. Mr. Lesley, though, is
hilarious in his self-righteousness and his ability to turn everything into an
evil or plot against the good youth of America. He is our guide through the
tragedy that ensues and never fails to make us know how he feels about all
things that will destroy this country, especially drugs, sex and Communism! Mr.
Lesley’s talent and presence is the strongest of the bunch.
Mr.
Highley’s production is an enjoyable evening. If you are not looking for high
dollar production values that get trucked into the neighboring theatre
downstairs, but are willing to get your money’s worth in fun and frolic, then Reefer Madness is a must.
Reefer Madness: The Musical
October 5, 6, 8, 12 & 13 @ 8:00 p.m.
October 14 @ 2:00pm
October 14 @ 2:00pm
Wayward Actors Company
The MeX Theatre, Kentucky Center
501 West Main Street
Louisville, KY 40202
502-584-7777
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