Reviewed
by Judy Richter
Perhaps one of the greatest strengths of Broadway By the Bay (formerly known as Peninsula Civic Light Opera) over the years has been its dancing. Thanks to always-inventive choreography by Berle Davis, the community-based company always excels in the dancing department. The production of "Seven Brides for Seven Brothers" is no exception. Smoothly directed by Evan Pappas and choreographed by Davis, it's a real treat for anyone who enjoys terrific dancing. The dancing is at its peak in two numbers, "Social Dance" during the first act and "Wedding Dance," which climaxes the second act.
The
show also features strong performances throughout the large cast, especially by
Carrie Madsen as
Milly and David Miailovich as Adam, even though he may have had some vocal
indisposition on opening night. However, Lawrence Kasha and David Landay's book, which is based on the
MGM film of the same name, which in turn comes from a Stephen Vincent Benet short story, "The
Sobbin' Women,"
seems outdated in this politically correct era. Set in the rugged Oregon
Territory in the 19th century, the story focuses on the seven Pontipee
brothers, backwoodsmen with a ranch high in the mountains and with manners low
on the nicety scale. Adam, the oldest brother, decides they need a woman to
take care of them, so he goes to town determined to woo and wed in only a few
hours. He meets Milly, the feisty waitress at the town's only eatery (it's not
nice enough to be called a diner or restaurant) and persuades her to marry him
practically on the spot. They're duly joined by the parson and return to his
ranch, where she meets the other six brothers, a brawling, crude bunch.
Dismayed but undaunted, she cleans them up and teaches them enough manners and
dance steps to make them presentable for the church social, where they promptly
fall for six eligible young women.
After
they return to the ranch, Adam, inspired by reading about the Romans and the
Sabine women, persuades them to kidnap and marry the women. They manage the
kidnap part but forget about the parson, so when they return, Milly makes the
brothers bunk in the barn while she and the women stay in the house.
Disconcerted, Adam heads for the high country, where he spends the winter. When
his youngest brother, Gideon (Justin Weatherby, an excellent tenor), tries to
convince him to return, Adam sings "A Woman Ought to Know Her Place." All eventually turns out
well for everyone, but the show still feels sexist.
Nevertheless,
the dances, songs and performances make up for that shortcoming. Besides
Weatherby, the other brothers are played by Stephen Perez, Kevin Stanford,
Larry Quinto, Matthew Ferretti and Paul Ziller. Their girlfriends are played by Kendall
Sinclair, Liz Blair, Hilary McQuaide, Erin Cole, Angela Fuller and Dominique Bonino. The townspeople, including the
children, also are fine. The orchestra, led by musical director Rick
Reynolds, is
quite good, better than BBB sometimes fields. Vocal direction is by Cˆ©sar
Cancino.
Lighting is by Michael Ramsaur. The colorful costumes are from American Musical
Theatre of San Jose.
The program doesn't credit the rented sets.
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