Brigadoon

Having performed in a couple of productions, I was looking forward to The Production Company’s take on this old war-horse. It was very well done.

It started with leading lady Fiona running onto stage from the back of the auditorium, and singing, with the chorus, the opening number, which is usually just sung by the chorus. This made the words much easier to follow, which helped set the scene.

The sets consisted of different projections for the various scenes, with a platform with four sets of stairs in the middle of the stage. It was very effective, and the scenes changed rapidly to allow the action to flow. It was particularly impressive in the New York scene, where the bar appeared to be in a skyscraper and you looked down on the bright lights of the Big Apple.

It was updated to today, which meant the two Americans were surprised that the township of Brigadoon wasn’t on Google Maps, and Brigadoon had no Wi-Fi. There were some nice touches, but little really changed in the update.

Genevieve Kingsford was a feistier Fiona than I am used to, but sang strongly and worked well with Rohan Browne, who was an energetic Tommy. Luke Joslin was a laconic Jeff and worked well with Elise McCann as Meg. Unfortunately one of her verses in her best known number, “The Love of My Life” was cut, and during her big scene with Jeff they didn’t wait for the laughs; so many funny lines were lost. It was a nice touch to have her try to drag Jeff back to Brigadoon in the final scene.

Matthew Manahan was an enthusiastic bridegroom, though I’d have preferred a more lyrical take on “Come to Me, Bend to Me”. His singing and dancing were excellent.

With a stage full of professionals, the choreography was exciting and tight. The sword dance was a highlight and the chase well handled, though I didn’t like Harry being murdered after he’d been captured.

In this production the schoolmaster became Mrs. Forsythe, and it was a delight to see veteran Nancye Hayes command the stage once more.

The orchestra played well and the lighting and sound were excellent. The costumes were colourful and the accents consistent.

The only real issue I had was a matter of taste. All comedy duos have had a funny man and a straight man. In this production Tommy played a more comedic character, which altered the balance. This was most noticeable during his parting with Fiona, “From This Day On”, when he played the fool during a scene of great pathos.

But this was a minor point in what was an excellent night at the theatre.

Graham Ford