The Fantasticks seems to be staged somewhere every year. It is cute, has some "rememberable" songs, and has been the longest- running musical in Manhattan. At least three productions reached San Diego county in the last three years, each with its own uniqueness. Scripps Ranch Theater had one of the best El Gallos I've heard; Moonlight tended to be overly choreographed. At Patio Playhouse, The Fantasticks production is nicely balanced and fits the small venue, since the show requires no set but much ingenuity. Richard Brousil's set design, along with Steve Schneider's props, gives the show the necessary elements for director Mary Bright's staging, as does Dawn Marie Himlin and Marianne Nevitt's choreography.
The show is well-paced and well cast. April Haarz, as Luisa, blessed with a beautiful voice and range, is a believable teenager. Her duets with Billy Stevens, as Matt, delight, as each complements the other. They personify young, innocent love finally facing life, and sometimes, cruel realities. The Fantasticks, Tom Jones and Harvey Schmidt's 40-plus-year-old tale of young love, two fathers' duplicity, and life's values, still plays well. The orchestra in Patio's version consists of a piano and drums (the original harpist became sick). It works! Himlin's occasional percussion enhances the solo piano. Playing the fathers, Huklebee and Bellomy, are Jim Clevenger and Kevin Jones, who handle the roles of duplicitous fathers, turned huff-and-puff enemies, delightfully. Richard Brousil's El Gallo commands the stage when he is "on" and disappears far from the lights when he is "off," allowing the players to play their roles. He is, after all, the absolute controller of all of the events that transpire before the audience.
The Fantasticks is complete only when Henry and Mortimer, over-the-hill actors, have the opportunity to display their comic-relief talents. They are charmingly played by Jack Dunasky and Mario Gastelum. But the production has the need for a living prop, an entity that is ever present, known to El Gallo and the audience, but not to the players. That is the Mute. The Mute is a wall, brings the rain and snow and is there with every necessary prop and costume enhancement. The Mute is, of course, speechless. This must be a first for Dawn Himlin, who is known for her acting, singing, and dancing talent.
Deborah Zimmer lights the production minimally yet gives the stage many areas of solo lighting when needed. Alas, the limitations don't allow for a variety of color, which would enhance the piece. Cindy Garvey's costumes delight, especially the little-girlish look for Haarz. Karmi Fosseh's piano accompaniment is flawless.
The Fantasticks does seem to be over-familiar. Yet, like Neil Simon's works, audiences love it. And community theater, which is closer to its audience than downtown San Diego theaters, is a perfect venue for this kind of piece.
