Adapted in 1975, as a musical, from Eudora Welty’s 1942 novella of the same name, this play, with Alfred Uhry’s scripting and lyrical additions (and Robert Waldman’s original musical score), became a prologue to Uhry’s illustrative career, whose canon now includes the plays "Driving Miss Daisy" (in 1989, Uhry earned an Oscar for turning his stage-story into a screenplay) and "The Last Night of Ballyhoo." Uhry also authored the disturbing musical “Parade” about a true-life lynching. Together those three shows constitute what has come to be called Uhry’s “Atlanta Trilogy”; each one somehow touches on Judaism in that not-so-sunny southern city.
Currently, So Cal theatergoers have the opportunity to experience a rare mounting of "The Robber Bridegroom." Under Todd Nielsen’s vigorous direction and choreography, along with Gerald Sternbach’s musical direction, Long Beach’s International City Theatre has produced a nearly perfect iteration of "Bridegroom."With a five-piece fiddle and banjo intense orchestration and a marvelously energetic ensemble of performers, we are treated to over two-dozen toe-tapping tunes and dance feats. Set mainly in 1795 around a place referred to as Rodney’s Landing, Mississippi, and billed as an “adult fairytale,” "Bridegroom" has as its primary characters a handsome bandit – whose main booty appears to be broken hearts – and a wealthy plantation owner’s daughter, whom the titular robber claims to love.
For the sake of dramatic conflict, there’s also an evil stepmother, an eccentric thief who totes his brother’s severed head around in a travel-trunk, and a veritable slew of dimwits, deviants, and other social undesirables.
Played out on an elaborately storied wooden set design by Stephen Gifford, with period costuming by Kim DeShazo, the cast includes Chad Doreck as the “gentleman robber;” Michael Stone Forrest as the affluent planter and landowner; Sue Goodman in a most animated portrayal of the scheming stepmother; Tyler Ledon as the decapitated noggin (cleverly conceived and performed); Jamison Lingle as Rosamund, (understandably) the object of the robber’s unvarnished but lusty love; Michael Uribes as the detached head’s little brother and, Adam Wylie in an exuberant embodiment of a character referred to in the program simply as “a simpleton.” Ledon and Uribes’s rendition of “Two Heads” is a quirky delight.
Lending committed support performances are Tatiana Mac and Teya Patt. Both actresses incarnate roles ranging from human to animal.
In the beginning of this article, I indicated that "Bridegroom" was “nearly perfect.” But what keeps this complex staging from being just perfect? I believe the answer lies in the relatively de-sexed interpretation that Director Nielson has chosen. In an effort to make the show a family friendly event, it seems somehow neutered.
In a cute bit where the robber steals Rosamund’s clothing – down to her bloomers and beyond – no flesh is flashed. Rather, we witness this supposedly nude lady sporting what are clearly pale pantyhose and various straps. The illusion of sexuality is diminished and the production is made blander than what it could or should be. To be true to the term “adult fairytale,” we grown-ups should at least be believably tantalized by some worthwhile eye-candy, don’t you think?
Nevertheless, "Bridegroom" offers top-notch production values and a troupe of players who, to a person, exude the pure joy of performance. That makes the two-hour investment of time and ticket price worthwhile.
The Robber Bridegroom continues at the International City Theatre – 300 East Ocean Boulevard, Long Beach – through November 6. Show times are at Fridays and Saturdays at 8 p.m. Matinees are at 2 p.m. on Sundays. For reservation, dial (562) 436 – 4610. For online ticketing and further information, visit www.ictlongbeach.org.
