A Review of the Hoochi-Doo Production
The Secret Garden
Directed by Cindy Brillhart-True
with Musical Direction by Chris Alexander
Performed July 10-26, 2009 at the
Sonoma Charter School’s Playbox Theatre, Sonoma, CA
By Sylvia Crawford
When I heard, earlier in the summer, that the well-known theater company, Hoochi-Doo, would be producing the fabulous Tony awarding-winning show, The Secret Garden, I was thrilled. Frances Hodgson Burnett, author of the novel on which the play is based, has long been a favorite and the San Francisco production of the musical, which I saw in 1995, has always remained in my memory as one of the best. With such excited anticipation came quick trepidation: could Hoochi-Doo players match my memories?
Well, in a word, the answer is yes—a resounding and most favorably shouted YES! Once again, Hoochi-Doo has produced a summer show that is delightfully entertaining, memorably played and just the kind of theater that folks of all ages in Sonoma Valley will love. Our congratulations to the entire cast and crew: Bravo! You made that little, intimate Playbox stage sing with joy. Yes, joy, mingled with a few tears as well.
The story of young Mary Lennox--orphaned and abandoned in India when a cholera epidemic swept through the city where she lived with her parents, then shipped to a cold and bitter life on the gloomy moors of stormy England--is not all happiness—far from it. Ah, but therein lies the story’s charm and pull. If little Mary, most unfortunate of all children, can rise above her horrible fate, then can’t others, too, find a bit of happiness?
Mary requires no more than a shovel-full of earth to plant the seeds of life—and hence, health, happiness, and above all love—so must we seek out joy in our own lives. That is the simple lesson of this lovely story.
Marsha Norman who wrote the script and lyrics for this beautiful show, and Lucy Simon who wrote its captivating melodies, knew how to bring out the essence of Burnett’s compelling tale.
And under the able and inspired direction of Brillhart-True, this production is both brilliant and true. It touches our hearts in a way that few shows do, and it softly turns our souls to seeking happiness even amidst depression.
The minimal sets allow ample space on a small stage populated by a whole host of characters—both alive and dead. The specters, clothed in the traditional hue of ghostly white, wear not tattered rags, but the fine summer-style whites of upper class English.
And here, I must mention the costumes: they are done with the absolute perfection that only Sonoma’s own treasure, Linda Rawls, can do. She excels at fine details--be it filmy ribboned hatbands matching waist-cinching sashes on the two beautiful sisters, or high-buttoned white leather boots matching picnic garb on young Mary, or exquisitely shimmering fabric in the Ayah’s outfit--the characters costumes are perfect. From the plum-colored outfit of the officious schoolmarm, Mrs. Winthrop, to the fine cut of Dr. Craven’s waistcoat to the rough texture of Ben’s leather apron, each costume shines.
But beyond the effectively simple set construction and the memorably magnificent costuming, we applaud the excellent acting of every single player in this show. What a talented cast! From the smallest parts, like the two young girls, Maeve O’Reilly and Adrienne Valavanis who played Hindu children, to elegant Alice Fellows who played a small part as one of the English matrons, each role is executed so flawlessly, that it becomes noteworthy, adding to the richness of the play. When small parts are played so well, as in this show, the depth of the story is enhanced significantly. That level of artful skill was evident throughout the cast, but nowhere more so than with the two stars, J. Anthony Martin and Devon Hayakawa.
Martin, featured as the tortured and dismal Archibald Craven, a man who cannot escape the tragedy of his past, is well known in Hoochi-Doo productions. Martin makes any ballad soar with poignant resonance. This consummate actor brings theater alive.
As for young Devon Hayakawa, she is a newcomer to the Sonoma stage. And wow what a gifted artist she is! Her innocent and natural portrayal of the bereft and lonely Mary, who blooms through love and attention, is superb. Her natural talents are refreshing and endearing.
We also thoroughly enjoyed Grace Cutting’s excellent version of the frightened hypochondriac Colin Craven. Though only nine years old, she played this ill-mannered, ill child like a pro.
We look forward to seeing both of these talented youngsters in future shows. Of course, we give ample credit for their gifted portrayals to the director, Cindy Brillhart-True. Just imagine if these two talented girls were cast in the opposite parts; while they might be able to carry off the roles given their abilities, the show would not have soared as it did.
And, as for the talented Brillhart-True, we love her portrayal of the ghostly Lily. Sweet, ethereal and lovely as could be; yet equally tortured by her unwanted position as the tormentor of her husband. When Brillhart-True sings the wrenching ballad, “How Could I Ever Know,” our hearts break for the sad state of this ghost who remains as imprisoned by her husband’s melancholia as he is. Erik Batz, in addition to being elegantly costumed, is coldly elegant himself, playing Dr. Craven with such a fully-realized nineteenth-century demeanor that we are enthralled. We acknowledge his talent noting that he previously played the kindhearted, loving Scarecrow in the Mountain Play’s production of the Wizard of Oz. Going from warm-hearted bungler to cold-blooded calculator reveals his talents.
Seth Clayton, playing the magical spritely Dickon, was the biggest surprise in this show. Both imagining Dickon while reading Burnett’s book and watching the portrayal of Dickon in the S.F. production, I expected a much more puckish, impish boy. While Clayton’s broad smile and elfin-like face fits that description, his towering stature was initially offsetting: Could this giant really be grounded, in touch with the earth? Indeed he was. And it took only minutes for this amazing actor to forever change my impression of Dickon. Clayton is Dickon. And a lively, happy, conjuring one, after all.
Dickon’s sister, Martha, played by Heather Lane was another delightful surprise in this show. With a most beautiful voice (clearly matched by lilting, gifted soprano, Colleen Fogarty as lovely Rose) when Lane belted out the inspiring “Hold On,” anyone’s courage could be bolstered just as Mary’s was. We especially enjoyed this sibling match of talented players. Rounding out the cast of earth-loving Yorkshire folk was the warm and funny Elliot Simon as Ben. Simon played his character in an easy-to-love way, which was just what Mary needed and the audience wanted. Jeremy Berrick and Colleen Fogarty were charming as Mary’s doomed parents. With excellent vocal range and tonal quality, both of these actors could perform in opera.
Small parts that added to the excellence of the show included the stern and dignified Mrs. Medlock played to perfection by Fran Weiner; sweet and slight Elspeth Kohler was perfect in her small part of Alice where she was able to sing a beautiful solo. Julia Holsworth’s dialog-free part as Mary’s Ayah (an Indian nanny) included lovely choral and dancing parts that added beautifully to the whole. In fact, Holsworth choreographed the entire show which featured many complicated moves that often formed puzzles, with characters weaving in an out of space and reality, skillfully obscuring set changes to the surprised delight of the audience.
Jill Sabel Valavanis added the task of corralling the young fakirs, while performing her own small role as one of the dreamers. Her sensuous-mysterious demeanor conveyed an appropriate solemnity in her role. Karen Hirst’s cross-dressing role as Lt. Shaw perfectly balanced her appearance as the gruff Mrs. Winthrop. We appreciated her strong voice in the choir of ghostly dreamers.
The cast was rounded out by two versatile singers whose voices added so much to the chorus: Carson Campbell was a dignified Major Holmes and Sean Clancy a handsome Lt. Wright.
The mysterious atonal and dissonant Indian-inspired songs, often performed in chorus by the ghostly dreamers, were set off and pleasantly enhanced by the traditional English ballads, This complex piece goes far beyond most popular, musical fare creating a show richer than light-hearted musical theatre and more approachable than opera. It demands quality and skill from every performer and that was realized in this excellent Hoochi-Doo production. Talented voices provided the excellent music but we also praise the gentlemen of the four-piece combo that kept the melodies rolling throughout the show.
Finally, though the set had minimal props, the closing stage set, with the blooming garden revealed in a stunningly created canvas was spectacular, adding to the rousing joy and optimism of the show’s end. Indeed, the discovered garden created hope, pulling in health, happiness and love in the future.
For more than 20 years, theater enthusiast Sylvia Crawford has worked as a journalist, writing a weekly column and frequent performance reviews.
