AISLE SAY Phoenix

You had to know that when a theatre company as large as Arizona Theatre Company mounted the tiny Tom Jones and Harvey Schmidt chamber musical sensation The Fantasticks! they would find a way to utilize their extensive resources. Save for one gaudy and textually unsupported effect which draws attention away from Matt's big number in the second act, Director David Ira Goldstein has created the most lavish simple set that completely supports the action, while also enhancing the script with an amazing final stage picture. Mr. Goldstein has spared no expense in securing the best designers, musicians and performers, and this big budget small musical is the best version I've seen, including the original Off-Broadway production.

Those familiar with the show will discover a surprise in the middle of the first act. A 1990s national tour starring Robert Goulet utilized a new song by the authors in place of the notorious "Rape" number, which many now find offensive. That song, "It Depends On What You Pay" does have the advantage of tying in musically with the later Abduction dance number, though it is lyrically inferior. Other than that, and some anachronistically modern movements during Mortimer's example of a death scene, the show remains textually faithful to the original.

The immense success can first be credited to the triumvirate of Mr. Goldstein, musical stager Patricia Wilcox and musical director Michael Koerner. The three work together in perfect harmony. The blocking and choreography are inventive and smooth in transition. The presentational aspect of the piece is handled excellently, with a stressing by Mr. Goldstein of the "puppet show" images sprinkled throughout the text and lyrics that breathes new life into this four decade-old piece. The small orchestra of keyboards, harp, bass and percussion is fluid. 

Mr. Goldstein has also found a nearly flawless cast. Danny Bolero's El Gallo is heartfelt and honey-voiced. Eschewing the sly or smarmy of some, Mr. Bolero is a loveably haunted bandit, redeemably calculating in his bringing together the two lovers for all the right reasons. Timothy Fitz-Gerald and understudy Julia Tilley are excellent as Matt and Luisa, although Mr. Fitz-Gerald's lovely voice is a tad weak, unable to fill the audience with the power of the others around him. Ms. Tilley aces the naïveté of Luisa, and her transition is heartbreakingly rendered.

The supporting members of the ensemble are every bit the equal of the leads. Norman Large and Frank Kopyc would steal the show from lesser performers, as they are absolutely hilarious as Hucklebee and Bellomy. Both are very good character singers, and make every look and gesture a treat. They tread the thin line between character and caricature reveling in the good aspects of both while avoiding the pitfalls. Apollo Dukakis and Eric Ray Anderson are also very funny as Henry and Mortimer. Finally, Carmen Yurich's presentation of The Mute is a full body performance. He has a remarkable stage presence that allows for the audience to always know he is present without drawing focus from the others.

The remarkable set is the creation of Drew Boughton, whose additional elements to the original bare stage, platform and poles such as grass, a twisting tree, and a sky do not crush the lightweight fare. Michael Gilliam's lighting is extensively expressive, while David K. Mickelsen's costumes are well considered and thoroughly appropriate. Abe Jacob's sound design is expressive and well-run.

Mr. Goldstein has hit on the perfect formula for large company's desiring to play this small musical on cavernous spaces the size of The Temple of Music and Arts and The Herberger Theater Center. With the perfect blend of power and subtlety, this is a can't-miss ATC production.