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Somewhere between the stars and the mist in the Scottish highlands, according to Lerner and Loewe, you'll find the mythical village of Brigadoon.

Well, this "Brigadoon" is somewhere between a Centerville supermarket and a vacant Ernst building - but it's no less magical than the one Lerner and Loewe envisioned.This Pages Lane production might lack the professional polish of an Equity show, but the tradeoff - and it's a nice one - is that you'll find plenty of familiar local talent instead of a bunch of performers you've never heard of before.

I could also get into the rather silly local argument of "proscenium stage" vs. "in-the-round," but I won't - because both of these have their pluses and minuses. In the intimate Pages Lane, much of the Scottish scenery is left to your imagination, but the tradeoff (again quite nice), is that you're drawn right into the sweet and romantic tale of New Yorker Tommy Albright and Scottish lass Fiona MacLaren.

(Has it ever occurred to you that this is the ultimate May-December romance . . . Fiona is, after all, an "older woman" . . . 200 years older than Tommy?)

If you're unfamiliar with the story - two weary American hunters stumble into an unmapped village, a town smitten 200 years earlier with either a curse or a miracle (depending on whether or not your name is Harry Beaton). The upshot is this: Brigadoon magically materializes once every 100 years for just one day, then, at eventide, disappears back into the mist for a centurylong snooze. The residents of Brigadoon don't suffer from any modern-day sleep disorders, something that Tommy Albright, a guy on the fast-track to nowhere, is fairly quick to pick up on.

Besides the romance between Tommy and Fiona, there are a couple of subplots: Tommy's hunting partner, the hilariously cynical Jeff Douglas being relentlessly pursued by the overbearing Meg Brockie, and angry Harry Beaton threatening to jeopardize the entire "miracle" over the marriage of Charlie and Jean, Fiona's younger sister.

The cast I saw (there are two alternating ensembles) included such talent as Steve Evans, Kathi Pike, Nick Cash and Alison Stagg-Pratt in the lead roles of Tommy, Fiona, Jeff and Meg, with Dan and Emily Morgan (brother and sister - and just two of some nine Morgans in the show) as Charlie and Jean.

Don't pay too close attention during the opening scenes of the show. When the residents of Brigadoon are gathering in MacConnachy Square, Dan is dancing around with his infant son, Skylar . . . then turns up two songs later as the soon-to-be-married Charlie Dalrymple anxious to "Go Home With Bonnie Jean."

While scenery and props on the stage itself are somewhat sparse, the scenery crew has painted a lovely mural on the west wall of the theater, depicting just the hint of an ancient Scottish church and a heather-filled hill.

Marilyn Montgomery's choreography kept the performers jigging and jogging up and down the aisles and around the stage..

There were some rough edges on opening weekend. The choral prologue sounded like it was a mix of both live and taped singing - with one lagging just microseconds behind the other.

But overall, the cast is more than up to the task of dancing and singing its way through one of Broadway's most memorable scores - such lyrical and enchanting tunes as "The Heather on the Hill," "Almost Like Being in Love," "Waitin' for My Dearie," "There But for You Go I" and "From This Day On."