by Alan Scherstuhl
Thursday, Jul 15 2010 - Pitch Weekly
Not a month goes by that I don't recall the girl who, during my elementary school's spelling bee, marched up to the microphone and proclaimed with unshakable conviction that should was spelled S-H-O-O-D. The laughter that followed is the closest thing I've seen to the wrath of God unleashed. Years later, she got knocked up by the guy who drove the bus to vo-tech. Nobody will ever convince me that these events were unrelated.
Portraying these afflicted children in the American Heartland Theatre production are restrained, convincing adults. Set free for once from playing a romantic lead, Lauren Braton is marvelous fun as Olive Ostrovska, a fidgety kid in love with her dictionary. In the second act, which is admirably darker than the first, she lavishes her considerable voice and technique on a song of raw loneliness that is the show's highlight. Braton is matched by Michael Dragen as William Barfee, an unkempt tub of a kid beset by allergies, sinus problems and an imperial self-regard. Too often cast in forgettable second-banana roles, the nimble Dragen here makes each line not only comical — a phlegmy eruption from a troubled geek — but also entirely believable. Much of the rest of the cast is strong as well. (Also credible are the real people hauled onstage to play along as spelling-bee contestants.)
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So, here is as well-calibrated a musical comedy as Broadway has built in years. What a relief to see the craftspeople at The American Heartland Theatre turned loose on a show up to their talents. The gymnasium floor of Paul Hough and Shawn Rouse's set is amusingly scuffed; Anthony Edwards' piano (accompanied by percussionist Tod Barnard) is more full and clear than most larger ensembles; and director Steven Eubank's staging and pacing are ace. The show clips along but
never rushes, and we're invited to linger with the performers in the big moments.Eubank also handles choreography, to mostly good effect, although the dances usually seem to be making fun of the idea of dances. As in the songs, by William Finn, this is fun but just barely fresh. The numbers are best in the rare moments when they shake free of the parodic mode and instead offer something more human.
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Spelling Bee attests to the power of the musical, even in its late and largely self-parodying period, a time when every song seems to recall an earlier and usually better show. It's even hardworking enough to include a couple of dark numbers to please those who are too cynical for crowd-pleasers.
You can read the article at pitch.com as well, by clicking here.
* The italicize and indented text was sent to us by reviewer Alan Scherstuhl. It was cut from his printed review.
