Le Petit stages impressive regional premiere of ‘Once’
By ALAN SMASON, WYES-TV Theatre Critic (“Steppin’ Out“)
There are so many things to consider about Once that make it a truly special musical experience like few others. The superb direction of the work by Conner Wilson begins with the actors entering the stage one by one. They begin playing instruments impromptu and singing in a natural, relaxed manner as we are drawn into their world. There is nothing to prepare the audience for what is about to play out on stage.
Unannounced, we move from a theater in New Orleans to Dublin, Ireland as the set by William Boles acts almost as another character giving the appearance at various times of a workshop for vacuum repairs, an iconic pub, a music store, a small apartment and a recording studio. When the original Broadway cast played at the Bernard Jacobs Theatre, the set was an actual working pub with beer and spirits offered for sale to orchestra members. The national tour that came to the Saenger Theater opened on St. Patrick’s Day in 2015 and again used the scenic design evocative of a pub, but the audience members were strictly kept to their seats. The smaller venue of Le Petit works well to make this intimate musical even more intimate.
There is also something unusual about the ensemble nature of Once with everyone on stage carrying and playing an instrument, sometimes providing melody or rhythm for the other performers. The choreography by Chase Kamata is truly one major ballet of movement.
Leading actor Patrick Cragin (Guy) plays guitar and portrays the down-on-his-luck hero of the original Irish film that is the basis for the musical. We learn early in the book of the musical written by Enda Walsh that Guy is still in love with his girlfriend, who has left him for the distant shores of America. Lonely and depressed at his prospects to win her back, he is busking in the streets of Dublin but so overwrought that he is ready to lay down his precious gift of music and guitar. Cragin, who has played larger than life roles like Billy Bigelow and Sweeney Todd, keeps his head down, strumming his guitar and pouring himself into the songs that are an extension of his character. While we never lose sight that Guy is central to the story, he does blend into the background at times as the ensemble takes a more prominent role in songs like “Gold.”
The selections were written by Glen Hansard and Markéta Irglová and capture feelings of despondency and loneliness but also share a connection from one person to another. They are the beating heart of this intimate work that is not typical of most Broadway shows.
As Girl, Josie Oliva finally gains leading actress status. Memorably seen in Le Petit’s Jersey Boys last year and Beautiful: The Carole King Musical the year before, her singing is remarkable, harmonizing with Cragin while playing piano in counterpart to his guitar. Girl’s back story is that she is a Czech immigrant separated from her husband while trying to adjust to living in Dublin with several others. We are just not so sure as to how much of what she tells Guy is true or not.
While there is great suspicion she may be attracted to him, she never expresses those feelings in a way that lets Guy regard her as more than just a supportive friend. She acts as a catalyst, though, in getting Guy focused on reclaiming his music and later working on getting funding for a recording session that might yield even bigger results.
While the remainder of the cast all meld together, there are scenes in which many of the ensemble take center stage. Emma Valasquez (guitar, ukelele) shines as Reza, a woman who uses her feminine wiles to get her way and to help Guy and Girl in the process. John Jabeley (mandolin) plays Da, Guy’s father, in certain key scenes. Noah Hazzard (guitar, violin, mandolin) portrays Andrej, a fast food worker who hopes to move up the corporate ladder and become a regional manager. His one major possession – a man’s suit – is lent to Guy when he is seeking out a loan to finance the recording session.
Brian Sanford (electric bass, guitar) as Billy and J.J. Hammerle (guitar) as the bank manager clash due to politics and class struggles, but they still come together at the recording session. Also seen at the recording session is Alec Barnes (guitar, drum set, percussion) as Svec, while Owen Callahan (guitar, mandolin, piano and melodica) plays far more instruments than any other cast member while portraying Emcee.
Judy Lea Steele (accordion) boldly portray’s Girl’s mother Baruska. Charlie Antis (cello) helps round out the ensemble with Jake Wynne-Wilson (guitar), typically seen in leading roles, effortlessly blending in as Eamon while giving a strong, but marked performance.
The biggest number – “Falling Slowly” – received an Oscar for Best Song and it proves to be one of the highlights of this production. Starting out as a simple, plaintive duet between Guy and Girl on guitar and piano, it soon escalates into a full ensemble performance choreographed brilliantly with the cast before leaving just the two leads on the stage to finish the tender piece. Crescent City Theatre Award winner Ainsley Matich serves the production well as music director.
The other memorable number played during the recording session is “When Your Mind’s Made Up,” another haunting ballad that highlights Guy’s frustration in dealing with matters of the heart. Cragin, Oliva and all the other players make that scene particularly memorable.
The costume designs by Kaci Thomassie are all extraordinary, evoking a grittiness of the Irish working class, while the lighting by Daniel Zimmer is also very pure perfection. Interestingly, James Lanius, who is something of a genius with projections, has elected to serve this production providing the sound designs and he does an excellent job in doing so.
Once finishes its run at Le Petit Theatre du Vieux Carre, 616 St. Peter Street in New Orleans, on Sun., June 21. Tickets are available here.
