Costumes, Choreography Make Hale Show Work!

Seven Brides for Seven Brothers
by Lawrence Kasha and David Landay
Hale Centre Theatre
Directed and Choreographed by Cambrian James
Musical Direction by Lincoln Wright
October 15 – November 28, 2009

     If you like old fashioned corny shows, stunning costume design and creative choreography well executed, then by all means buy a ticket soon for the Hale Theatre’s current production of SEVEN BRIDES FOR SEVEN BROTHERS. I emphasize soon because they are already selling out some performances. But please realize that you will also be seeing a show with thoroughly pedestrian and forgettable music, little or no substance and actors whose performance is adequate but nothing to write home about (with the exception of a plucky leading lady who despite a broken foot assured that the ‘show must go on’).

     Typical Hale audiences will, doubtless, love this show and even give it a standing ovation (as they did the night I attended), but let’s attribute that to the fact that by and large, this is a relatively conservative group who are quite content with the unsophisticated shows from a bygone era, which Hale usually prefers. But for the average theatergoer in the 21st century, a script such as SEVEN BRIDES is not only outdated but too simplistic. That is not to say that there are no classic shows (such as FIDDLER, CAROUSEL etc) which are as pertinent today as they were 50 years ago. It is just that SEVEN BRIDES is not one of them.

     In a nutshell, this is the story of Adam, (woodenly played and rather poorly sung by Rob Stuart) a mountain man who marries solely to gain Millie as a housekeeper (beautifully sung, danced and acted by Alaina Beauloye) for himself and his six rough and tumble younger brothers. She, of course, immediately sets about refining them and helping them to find their own helpmates, which infuriates Adam. She is just too independent for him. The boys kidnap their intended brides without having married them causing a stir in the town and precipitating a feud which alienates Adam even further. Only the birth of a baby to Adam and Millie sets things right and, of course, all ends well and happy.

     As noted above, one of the two things which save this rather uninspiring show are the fantastic costume design of Corrin Deitlein, Sandy Bishop, Rebecca Wilcox, and Pam Osborn. Deitlein and Bishop have consistently won Zoni awards for their fabulous designs, but this time they have outdone themselves. Everything, and I repeat everything, is totally color coordinated so that each brother’s shirt matches the dress worn by his intended bride – and not once but several times throughout the show. It is a magnificent panoply of color. In addition, all of the costumes, both male and female are totally true to the time period and provide a beautiful visual picture.

     The second noteworthy aspect of the performance is Cambrian James’ extraordinary choreography. It has been my experience that when James has the dancing talent to work with, he is unsurpassed in his creativity. In SEVEN BRIDES, he too outdoes himself. Of course his dancers are able to handle the complex moves he proscribes, in particular two of the brothers, Gideon and Caleb. Performed by Connor Wince and Wesley Tippets respectively, these two young men are spectacular as they leap and twirl around the stage. The adagio like movements of all six of the brothers and their partners are simply fabulous – and it is this which saves the show from being just mediocre.

     Aside from the fact that this is a weak script, there are a number of small problems with the production which by themselves are not major but taken in the aggregate, are just enough to cause concern. It is impossible to understand many of the actors (especially Gideon, his brothers and the young girls) as they speak their lines and this is worrisome in a small theater like Hale’s. We ought to be able to hear every word clearly. There are some songs which suffer from lack of precision as well. Music Director Lincoln Wright should have attended to this. The set is minimal (undoubtedly to make room for all the intricate dance numbers) and the most interesting scenic design is relegated to an upstairs room which is used in only one scene. I would have liked to see more of that area, had the director decided to stage more action there. And the makeup and hairdo’s while nicely done, were a bit much in the opening scenes when the brothers appeared in obviously false long beards, one of which kept falling off while its owner was on stage. We are back to the corn again when we see those obviously months-long growth of beards disappear in a matter of seconds as the boys are transformed by Millie. Willing suspension of disbelief is a bit strained at moments in this show.

     There is no doubt in my mind that Cambrian James is the best choreographer in the Phoenix area, bar none; unfortunately, as a director he is less skilled. So if you are willing to overlook some of the directorial faux pas and just want to enjoy a soupy script, marvelously colorful costumes and the finest dancing you will see around here, get your tickets for Hale now!