Few shows can boast as proud a heritage as The Fantasticks. It debuted in an Off-Broadway playhouse in 1960. Audience numbers grew over time, and eventually, this show became the longest-running musical in history. Its appeal, though elusive to some, has drawn more spectators than Cats, A Chorus Line, The Lion King or any number of mega-musicals you can name.
Unlike the other aforementioned shows, this one is based on an extremely simple premise, with production values to match. It consists of two "feuding" fathers, who disagree in order to make sure their son and daughter will fall hopelessly in love. You probably know the rest of the plot, so there's not much sense in adding details. Milwaukee's Skylight Opera Theater is no stranger to The Fantasticks, having produced the show four times in its 44-year history. Perhaps that's why this production lacks a certain pizzazz. Make no mistake; the actors provide plenty of fizzle. Norman Moses, one of the fathers, does not let down his numerous fans in the least. A wry comment about his past, "I learned horticulture while serving in the U.S. Navy," still elicits chuckles, as does almost anything Norman chooses to do.
The other father, played by another Skylight favorite, Ray Jivoff, is equally up to the task (despite his relentlessly over-the-top performance). Anyone in the audience who has raised teenagers can certainly identify with the fathers' lament. "When you plant a turnip, you get a turnip," moans Jivoff, watering can in hand. Teenagers, he sings, are much less dependable. The two men blend their characters nicely. In one of their early songs, they turn a little dance into a smartly executed tango.
The children, Luisa and Matt, are young and beautiful, although Matt intentionally dresses (and acts) as somewhat of a nerd. They combine youthful exuberance with nice singing voices, too, especially in the memorable duet, "Soon It's Gonna Rain."
The narrator of the story is, of course, the eloquent El Gallo. Kurt Ollmann (El Gallo) uses his operatically trained voice to fine effect; he particularly impresses with the show's best-known number, "Try to Remember." Ollmann attempts to be as suave as Fred Astaire, and in most cases, this works. However, Fred Astaire is a bit innocent, and so is this El Gallo. There should be some mystery, some darkness, and even some larceny, in El Gallo. However, director C. Michael Wright makes El Gallo as cheery as the rest of the characters. He also has come up with some interesting stage business for the Mute. This Mute launches into a dramatic flurry of American Sign Language during some of the musical numbers. This is especially distracting during "Try to Remember." If that's the low point of the production, one of the high points is the appearance of the two "actors," the aged Henry and the imbecilic Mortimer. Although they have several clever bits in the show, the best is Mortimer's "death" scene, which takes at least three minutes to complete. Eric Price is delightful as Mortimer.
Rob Wagner's set is exactly what is prescribed by the show's originators, consisting of a small raised platform and a removable curtain. Richard Carsey, the company's musical director, serves as the pianist. A few numbers benefit from the nice addition of harpist Ann Lobotske.
