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Regional Reviews: Minneapolis/St. Paul The Unsinkable Molly Brown Also see Arthur's reviews of Pippin, God Girl and The Coward
Ten Thousand Things Theater has mounted The Unsinkable Molly Brown—actually, revised the show, as it was the first musical ever performed by this indispensable company, 15 years ago. As is Ten Thousand Thing's trademark style, they have stripped away the external trappings, lifted up the show's central theme and found its heart. In so doing, they have given us a theatrical gift, a show that is joyful, sly, poignant and smart, wrapped in a production that soars. The show is based loosely on the real Molly Tobin Brown, born to a poor family in Hannibal, Missouri, who, as her father states, was born with a cyclone inside of her. Her drive to achieve and make something of her life takes her to Leadville, Colorado, where she persuades saloon owner Christmas Morgan to hire her as an entertainer, not telling him that she only knows one song. In Leadville, miner Johnny Brown is instantly besotted by Molly's spunk. He claims that his "Brown luck" will make them rich. After Johnny strikes a huge silver claim, he and Molly marry and move to Denver, where Molly aspires to become educated, cultured, and accepted by Denver society. However, she finds that Denver's small circle of the newly rich is an insular group, not at all welcoming to her country speech and mannerisms. The second act takes Molly and Johnny to Europe, where Molly becomes the toast of society, while Johnny looks on from the sidelines. Back in Colorado, Johnny wants only the simple life they had when they started out together, but Molly wants so much more. They part and Molly returns to Europe on her own. On a return trip to Colorado, she books passage on the maiden voyage of the S.S. Titanic. You can guess from there how she earned the sobriquet unsinkable. Her signature song, "I'm Not Down," sums up Molly's never-say-die outlook on life. Under Michelle Hensley's direction, the show is lovingly pared down, cutting several songs from the original, but keeping everything that reveals characters and moves the story forward. Despite the small cast, the musical numbers are tuneful and lively, and several dance sequences choreographed by Kimberly Richardson, albeit brief, apply movement with such grace and imagination that one can visualize a stage full of swirling dancers. Peter Vitale does a remarkable job as musical director, bringing unexpected richness to his one-man-band. The cast is, without exception, terrific. Maggie Chestovich captures Molly's spunk and determination, along with her vulnerability. Her diminutive, wholesome prettiness suits Molly to a tee. Her Molly grows from a gritty yet naive girl to a woman of the world, wise to deceit and disappointment, while always maintaining her essential goodness. She sings with the throaty gusto one would expect of Molly. Tyson Forbes has a lanky frame and craggy, handsome face that perfectly suits Johnny. He makes us believe in his unconditional love for Molly, while revealing the emotional bruises he endures as Molly fights to push them both up the social ladder. Forbes sings sweetly and with sincerity. His Johnny and Chestovich's Molly have terrific chemistry together. All of the other cast members play multiple roles. Eric Sharp is effecting as Molly's father, trying to keep his firecracker of a daughter grounded on Earth. H. Adam Harris is a winning Christmas Morgan, revealing both the gruff and tender faces of this character. Kimberly Richardson is hilarious as Mrs. McGlone, a Denver society doyenne whose nasal whine and sniveling mannerisms cast disdain upon Molly. Austene Van and Max Wojtanowicz are delightful as a pair of European royal siblings, with equal measure of daftness and sophistication. There are no sets, per se, only thresholds through which actors enter the in-the-round playing space, with drapes above them that change to signify the locale. Miniature models of furnishings—the brass bed Molly yearns for, elegant French provincial furniture, an entire log cabin—are placed on stylishly abstract pedestals, where they can be referred to by the characters. The effect does not diminish the proceedings, but rather lends an air of invention and purity to the show. The costumes, on the other hand, are spectacular. Designed by Sonya Berlovitz, each outfit is exaggerated in a way that defines the character while adding great humor to the look of the show. The red dress Molly wears, when she achieves the means to wear such a dress, is both comical and touching—touching in the way it represents the impossible innocence of Molly's dreams. TTT brings live theater to audiences that don't typically have access to it, such as homeless shelters, community centers, and prisons. For this reason, the shows are presented with house lights on, typically in the round within a gym or community room, with no seat more than two or three rows back from the players. I saw Molly Brown at an Adult Basic Education program, and many in the audience were immigrants from various nations enrolled to learn English. In spite of their limited English, they clearly were tracking and deeply engaged in the story on stage. At one point, when Molly's fortune is at risk of being lost, audience members, without provocation, yelled aloud "No, don't do it!" On other occasions this might seem inappropriate, but in a Ten Thousand Things production, with the house lights on, it feels perfect. I have never seen a full blown production of The Unsinkable Molly Brown, but after seeing the loving care given to the story, the music, and the characters by Ten Thousand Things, I cannot imagine wanting to see it any other way. The Unsinkable Molly Brown continues through February 22, 2015, at Plymouth Congregational Church - Guild Hall, 1900 Nicollet Avenue, Minneapolis, MN; February 26 —March 8 at The Open Book, 1011 Washington Avenue South, Minneapolis, MN. Tickets: $30.00, pay what you can, $5.00 and up, for those under 30. For tickets call 612-203-9502 or go to www.tenthousandthings.org. Music & Lyrics: Meredith Willson; Book by Richard Morris; Director: Michelle Hensley; Music and Sound Director: Peter Vitale; Costume Designer: Sonya Berlovitz; Set Designer: Stephen Mohring; Choreographer: Kimberly Richards; Production Manager: Nancy Waldoch; Costume Assistant: Shannon Gauer; Production Intern: Shante Zenith Cast: Maggie Chestovich (Milly), Tyson Forbes (Johnny Brown), H. Adam Harris (Molly's brother, Christmas), George Keller (Mrs. Wadlington, tour guide), Kimberly Richardson (Mrs. McGlone, Germaine the maid), Eric Sharp (Shamus —Molly's father, Monsignor Ryan), Austene Van (Nun, Princess DeLong), Max Wojtanowicz (Molly's brother, Roberts the butler, Prince DeLong). Saddle Rock Saloon folk, Denver socialites, European royalty: H. Adam Harris, George Keller, Kimberly Richardson, Eric Sharp, Austene Van, and Max Wojtanowicz.
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