Review: South Coast Premiere of BIG FISH Is Indeed Heroic

Big Fish/book by John August; music & lyrics by Andrew Lippa/directed by Steven Glaudini/Moonlight Amphitheatre, Vista/through September 26 only

Based on Daniel Wallace's 1998 novel and Tim Burton's 2003 film of the same name, Big Fish, with a few minor changes in plot, becomes quite an imaginative musical...with Andrew Lippa, composer of some of the best songs written for a Broadway show in a long time. So, it is hard to imagine why its Broadway run ended after a mere three months. Now in its south coast California debut, Big Fish comes to Moonlight Amphitheatre, Vista with a divine cast directed stylishly by Steven Glaudini and choreographed vibrantly by Karl Warden with sets and costumes from the original New York production. It's a real charmer and another big hit for Moonlight's winning season.

The life account of Edward Bloom (Josh Adamson), who hails from the tiny town of Ashton, Alabama, is told in two meshed storylines. It starts in the present with Edward at age 60 when his son Will (Patrick Cummings) is about to marry Josephine (Andi Davis), and then flashes back 30 years to the time when Will was a boy (Elliot Weaver) and dad Edward, a traveling salesman, was on the road more than at home. Wife Sandra (Bets Malone) was there for Will, but Edward only popped in occasionally when he returned from his trips. At the core of the whole story is Will's inability to understand his father, who tells tales of mythical proportions (the subtitle of the novel) about witches, mermaids, giants and fantastical events...making Will question Edward's sense of truth and his overall integrity as a husband/father. When he uncovers a deed on a house in Ashton signed by Edward and his teenage sweetheart Jenny Hill (Katie Whalley Banville), Will thinks his dad is having an affair. Edward is dying of cancer and doesn't tell his son until it becomes impossible to hide the facts. In an earnest effort to connect to his father before he dies...and more urgently to uncover the truth about his so-called 'secret' life, Will sets out on a journey of discovery that ends up bringing him much closer to his father than he ever dreamed.

Edward Bloom is indeed a dreamer. Throughout the show, we see his fantasies take shape in the form of big musical numbers that involve 'stomping to catch fish', joining a circus, befriending a gentle giant Karl (Dustin Ceithamer) whose plight is acceptance in a hostile world, taking part in a cinematic western shootout, even envisioning a panoramic variety show to entertain troops during wartime...which add a lot of lively action and rivet audience attention from start to finish. Warden does slick work with choreography, and director Glaudini stages the piece fully, keeping the pacing up and bright, even in down moments.

The entire ensemble are heaven sent with Adamson adding another memorable character role to his versatile repertoire. If you remember, he played the detective in last season's Catch Me If You Can. Making Edward a bewildered sort of Will Rogers, who may not be the greatest parent in the world but a surefire storyteller of epic proportions, Adamson is full of the devil yet makes his Edward grounded and convincing consistently. Malone brings warmth and earthiness to the caring and supportive Sandra. Cummings also plays his role with complete honesty as the befuddled Will who cannot make sense out of his father's eccentric ways. Ceithamer is terrific as Karl, the out.of.place giant who learns to experience wealth, success and happiness because of Edward's encouragement. Weaver steals scenes as little Will and Davis does her best with the rather dull yet supportive role of Will's bride. Shirley Johnston makes a sensuous Witch. Praise to the entire ensemble for some wonderful triple threat singing, dancing and acting.

For me what makes this musical rise above the norm is Andrew Lippa's sensational score. Most contemporary musicals have mediocre music but this one is melodic and alive with some pretty memorable tunes like "Be the Hero", "Time Stops", "Red, White and True", "Fight the Dragons", "Daffodils", and the simply gorgeous "I Don't Need a Roof", sung with heartfelt emotion by Malone.

I never saw the film, but I can envision Tim Burton having a field day with this uplifting tale. Its eccentricities and colorful characters as in Edward Scissorhands are right up his alley. But, what makes me most happy is that Lippa and bookwriter John August, with an unusual eye for minute detail, turned it into a musical for the stage. Edward Bloom's tremendous power of imagination inspires so much optimism for living one's life to the fullest, richest capacity. To quote him, "it feeds the soul". And with Moonlight's stellar rendering of this charming show, you will leave the theatre refreshed... and ready to take on the world. One added feature at Moonlight are the complete projection designs which add so much detail to the various sets, designed by John Infante.

www.moonlightstage.com

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