An Evening of Pure and Delightful Diversion
by Douglas K. Burch
It’s darned near impossible to categorize a show where one cannot tell who’s having more fun – the audience or the cast.
So we won’t try.
Moby Dick! The Musical is precisely that rare variety of inspired conundrum that is currently morphing the Theatre Workshop of Nantucket’s Bennett Hall stage on Centre Street into a joyous evening of pure and delightful diversion.
Never mind the premise of the play (?). Since there’s no plot (?) to get in the way of the lively goings on that fill – and sometimes overflow – Bennett Hall’s compact stage. Just sit back and enjoy. That’s what it’s all about.
And it works!
This inspired potpourri of just about every gimmick in the books of the hallowed, old time vaudeville routines lives again in this rollicking romp.
Cassie Abate’s choreography, simple but effective, blends everything from tap to tangos, hornpipes to disco, and on and on. Mind boggling, but so engaging. These wonderfully conceived turns last only a minute or two, so pay attention. Don’t miss the careful way she has integrated them into the plot (?) of the show. Possibly one of the only subtleties to be comfortable with in this wild and crazy, affectionate milieu.
And that milieu is truly gorgeous. If you’ve ever experienced the magic of a fully realized ensemble performance, you’ll feel right at home here. All of these talented troupers are in it and with it every second of the way.
And that’s why it’s so difficult to single out individual cast members, but our editor would like to know who, if anyone, made an impression on this reporter.
We were seduced by Esta (Theresa Tokarowski) whose glowing, happy smile lit up the stage in spite of the strange costumes and outrageous wigs that she flaunted. They all looked good on her, and she sings beautifully, too.
Pip (Mitchell Keutmann) left us wondering where Ray Bolger went after he left Kansas. (see Wizard of Oz) This guy is a natural born comic, and we were enchanted by his easy-going loose-jointed participation in the many dance numbers – some of which were well-received solos. Watch this kid. He could make it big.
Ahab (Donald Dallaire) is a properly menacing, albeit somewhat nutty, presence throughout, and an absolute riot when in drag as the headmistress of St. Godley’s Academy for Young Ladies. (Plot) (?) Besides adding a powerful voice to the musical numbers, he’s also responsible for the outlandish costumes that help to make the action on stage so delightfully funny.
Ishmael (Rebecca Kubaska) as the narrator brings a leavening touch of sanity to the proceedings, all the more amusing when she lets herself go in the many dance routines. And she, too, sings like an angel.
The statuesque Queequeg (Caitlin Doyle) stands – literally – head and shoulders above her fellow performers. Her wonderful poker face astonishes us when she breaks into a radiant smile while singing and dancing.
Backstage kudos to Micki DeCurtin’s basic sets, used creatively and comically by the gifted cast, and Joseph Gilmore’s makeup. His wigs alone are worth the price of admission.
It’s tempting to go on and reproduce all of TWN’s Playbill, but newsprint space limitations get in the way. This reporter was wowed by the whole show. We had a fine time, including the 3D bombardment and the great white whale’s personal appearance.
Should Herman Melville’s ghost be hovering about somewhere in the vicinity of our “little elbow of sand” it is sure to be amazed and amused by this madcap take on his ponderous tome. It’s great fun.
