Review: REEFER MADNESS at New Stage Theatreworks

Wonder what would happen if some 1930’s high schoolers smoked weed for the first time? According to New Stage Theatreworks’s production of Reefer Madness, apparently, they would ruin their whole lives. Though this might sound dark, actual propaganda films of the time portrayed this message seriously. Reefer Madness, however, is a musical satire of the 1936 propaganda film of the same name. Set in 1936, the story is set up as a play within a play, with the Lecturer (John Lipian) telling a story that the school’s Drama Department would then put on.

Grantham Durham, who played Jimmy Harper, had fantastic energy on stage from start to finish. With fabulous comedic timing and excellent physicality, the audience can lose themselves in the story of his downfall. His love interest, Mary Lane, portrayed by Kayla-Elizabeth Meyzen, was an equally stellar performer. Meyzen perfectly captures the doe-eyed optimism expected of girls in the 30s, without losing the depth required to bring the character to life. Durham and Meyzen’s chemistry together was incredible, with the audience able to fully grasp how deeply they care about one another. 

Phenomenal protagonists, however, do not alone make a good show. John Lipian, who plays the Lecturer leading the production, does a great job balancing his character as the Lecturer with that of whatever role he is jumping into on stage, 

The cast at the Reefer Den were also incredible performers. Hunter Flora, who plays the drug-peddling Jack Stone, nails this villainous persona. Flora embodies the character’s charismatic but cutthroat nature, creating an antagonist the audience can root against. Sarah Matlow creates a world of inner conflict as Mae, Jack’s wife, who opposes his actions but is dependent on him for marijuana, which she’s addicted to. Her growth as a character throughout the show adds a layer of depth to the black-and-white morality that is seen in many other characters. 

I would be remiss to not mention the ensemble of the show, who entered the stage with high energy every time. The ensemble numbers of this show are some of its peak moments, especially vocally, with their excellent harmonies and vocal blend. The whole cast is entirely unafraid to lean into the show’s comedy, which allows the acting to excel. The show was choreographed by Kelly Bliley-Greisl and Piper Greisl, who created dance numbers that added energy without over-complication. Though not always executed perfectly, the choreography filled the stage with life and movement in a great way. 

The set, designed by Stephen “Jack” Jammer, was intricate and multifunctional, easily transforming the stage into numerous locations with the turn of a wall. The levels created by the staircase and the platform at the top allowed for a lot of freedom for director Krystof Kage to get creative with the staging. 

The show leaned heavily into the “show within a show” aspect in really interesting ways. For instance, instead of a prop made to look like a car, Jania Sanchez-Kadar designed a flat prop an actor would hold to pretend they’re in a car. This added a lovely element of humor, while also reminding the audience of the context in which the show exists. The musical also used stage hands quite visibly, specifically when the Lecturer was talking to the audience, giving us another reminder that the real action of the show is within a performance. 

To post a comment, you must register and login.