Celebration Theatre Welcomes The Next Fairy Tale

The Next Fairy Tale
a world premiere musical
written by Brian Pugach
directed by Michael A. Shepperd
Celebration Theatre
through April 24

"Jumping gingerbreads!" proclaims Prince of Sunshine Copernicus (Christopher Maikish) to just about anything that proves a consternation. You see Copernicus is not an ordinary Prince, and The Next Fairy Tale is not your ordinary musical. They abound in the world of fantasy. It's about a Prince in love with...a Prince, and the Mistress of Fairy Godmothers is not in the least pleased to accept and publish this newest fairy tale in a long line of traditional fairy tales for children of the next century. What happens to Minerva, her inept charge Hazel and to Copernicus and his love interest Helio is at the core of this world premiere by Brian Pugach at the Celebration Theatre through April 24. For the most part, it succeeds with a marvelous cast, fabulous direction by artistic director Michael A. Shepperd and spot-on production values. One thing that's needed is more humor. As is, it's witty and entertaining, but not nearly as funny as it could or needs to be.

My one qualm with the comedy is especially noted in the character of the villainess Minerva (played beautifully by Gina Torrecilla). As written, she has no edge, no underlying secrets or spice, skeletons in the closet, as it'were that could be tapped into. If only she were a campy Cruella De Vil - fairy tales are bigger than life! - or a character whose sinful passions could have the other godmothers perhaps blackmailing her in exchange for allowing an assured happy ending for the sweet couple Copernicus and Helio and a green light for their tale. A hypocrite with deep-seated problems - maybe a lesbian with a past illecit alliance with a godmother? Or more openly devious designs on Hazel? This would open up tremendous comedic possibilities, helping to perk up Act I, which, right now is bogged down with too much heaviness in plot and action. Like a nonalcoholic punch, it needs to be spiked a bit. And it also would be nice to see more of Helio, the object of Corpernicus' affection. Right now his scenes are limited.

This aside, Act II seems to flow much smoother, and the acting is divine from the entire ensemble. Maikish is sincere in expressing his congenial demeanor and thoroughly winning. Rachel Genevieve is simply great as Hazel, the fumbling inadequate godmother who screwed up the plot of Little Red Riding Hood. Putting some sexual attraction/tension between her and Copernicus is a keen idea and that edge gives the sexuality issue more dimension and plays out delightfully. Stephanie Fredericks steals the show as fast-talking Thistle, Cinderella and the Mae West-like baker. She is a heavenly singer and adds great comedy relief throughout. Kendra Munger and Nell Teare as Glinda and Moonflower respectively nicely complete the loveable trio of struggling fairy godmothers. Charles Sedgwick Hall has a field day with Mirror and the voice of the Dragon, and Patrick Gomez makes a sweetly appealing Helio. Ben Caron and Vash Boddie add campy humor as Rumplestilskin and Scarecrow. The addition of these eccentric characters, along with Red Riding Hood (deliciously spightful Nell Teare), to the town Avaricia or Greed makes for a delightfully irreverent scene - one of the highlights of Act I and the evening, reminding one slightly of Sondheim's mix of fairy tale characters in Into the Woods yet utilized in its own fashion.

Victoria Proffit's minimal yet effective set design and Raffel Sarabia's lovely costumes add much to the proceedings. Pugach's songs are surprisingly tuneful and upbeat. The play ends with a big payoff. The two Princes unite, Minerva is finally defeated, Hazel has a courageous triumph and the fairy tale goes forward, changing the course of fairy tale history as we know it. There is so much promise and potential in The Next Fairy Tale. It yearns to be an adult fairy tale, but is a tad bland for that at present. The whole kindness card bit and choice of right not powerful morality seem to make it an ideally suited fairy tale for kids, but deep down I think it really wants to be more. With some further exploration and rewrites, it will most probably find its niche. This is the first world premiere musical from within the company at Celebration. Congratulations!

 

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