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Regional Reviews: Minneapolis/St. Paul Once Also see Arty's reviews of Choir Boy, You Can't Take It with You, Damn Yankees, Putting It Together and The Illusion
In transforming Once from film to stage, Tony-winning director John Tiffany and his team have put the Dublin-set story within an Irish pub, complete with deep wood panels, a working bar, and walls adorned with smoky mirrors—a masterpiece set designed by Bob Crowley. The piece has the ambience of a tale told over stout, an open-hearted exchange among people of goodwill. Within this closed community, we first meet Guy (he is given no name, called simply Guy in the program), then Girl (as she is called in the program), while fellow imbibers await their part in the story, and also form an ensemble, enriching the musical moments. She is a Czech immigrant living with her mother and young daughter in an apartment with other Czechs. He is an Irishman, living with his Da above their vacuum repair shop. Guy has a sheath of songs written for the woman he has loved, who has moved on to New York, leaving him behind. He sings his songs as he plays his guitar on the street, where Girl, hearing him (and having a vacuum in need of repair), encourages him to take his music further. She plays piano and also writes music, though with no piano of her own, she is limited to playing on a piano in the local music shop. Guy and Girl soon become musical collaborators, based not only on their shared musical instincts but on an inner sense that each understand the other's heart. Girl hatches a plan to record their music on a CD, believing that once his music is heard, Guy will undoubtedly find success. A large share of the play deals with their efforts to bring this idea into being. This also puts other characters into the story arc—musicians, music shop owner, bank loan officer, studio engineer—who enrich the story as well as adding comic elements. Along the way, Girl meets Guy's Da, and he meets her mother and daughter, enlarging their understanding of one another's world. They are inexorably moving toward a single orbit, yet each has unresolved issues and relationships from their past. Painfully, they work through their options, leading to a richly satisfying conclusion that affirms the ways—expected and unexpected—in which love enriches our lives. The songs by Glen Hansard and Markéta Irglová are lovely, though far more sedate than what we usually think of as theater music. Those who enjoy soft rock, folk, or traditional Irish music will be very pleased; those who look forward to the racing, brassy sound of a pit band may be less so. That said, each song is placed to describe the emotional state of the guy, the girl, and their blossoming relationship. There are a few ensemble numbers that are not in the movie, used to reinforce moods and create seamless transitions between scenes. Enda Walsh's book tells the same story as in the movie, with dialogue that rings true, effectively molding scenes to play within the confines of the pub settings. No band plays in Once other than the actors, who all play instruments—Guy, guitar, Girl, piano, and the rest of the cast a range that includes violin, cello, mandolin, guitar, banjo, accordion, ukulele, harmonica, electric bass, drums and percussion. When Guy or Girl present a song, cast members may add musical texture by playing along, perhaps providing vocal harmonies. Other songs are the work of the full company, such as "If You Want Me" and "Gold." While there is nothing that resembles dance as we are accustomed to seeing it in Broadway musicals, there indeed is dance. The actors move organically with the music, even as they play their instruments, creating sensual images that heighten the expression of feelings unleashed by the songs. Steven Hoggett is credited for providing this movement; call it movement or call it dance, it is stunning work. The touring production has a cast that seems to be living their roles. Every member gives the impression of having woken up that morning as their part in the story. There is not a drop of artifice or effortful acting among them. Of course, a tremendous amount of focus is on the actors at the story's center: Dani de Waal as Girl and Stuart Ward as Guy both provide a genuineness to their characters, so every bit of anger, regret, hope, kindness, playfulness, and love rings true. Both have beautiful and emotive voices as well, making the songs, familiar from the film and popular movie soundtrack album, sound fresh and full of meaning. As noted, each member of the ensemble delivers an excellent performance, but special notice goes to Evan Harrington, a loveable grizzly bear as Billy, the music shop owner; Benjamin Magnuson as a dweebish bank manager; and especially Erica Swindell as Réza, a Czech friend of Girl, intensely expressive as she moves with dramatic force while playing the violin. In addition to his Tony Award winning set, Bob Crowley designed costumes that help to make each cast member a complete person. Natasha Katz' lighting design (also Tony winning) draws cast members in and out of focus, and shifts to reflect characters feelings. Clive Goodwin's sound design (yet another Tony) allows the principal characters to be heard clearly above the contributions of ensemble members, and mixes the music coming from instruments scattered around the stage into a beautiful, unified whole. Once looks beautiful, sounds beautiful, is performed by a cast of crazy-talented actor/musicians, and offers hope for aching hearts. Those are more than enough reasons to see this very special musical. Once plays through June 28, 2015, at the Historic State Theatre, 805 Hennepin Avenue, Minneapolis, MN. Tickets: 39.00 - $84.00. For tickets go to www.hennepintheatretrust.org or call 1-800-982-2787. For more information on the tour, visit oncemusical.com. Book: Enda Walsh; Music and Lyrics: Glen Hansard & Markéta Irglová; Director: John Tiffany; Based on the motion picture written and directed by: John Carney; Movement: Steven Hoggett; Music Supervision and Orchestrations: Martin Lowe; Set Design and Costume Design: Bob Crowley; Lighting Design: Natasha Katz; Sound Design: Clive Goodwin; Dialect Coach: Stephen Gibbs; Casting: Jim Carnahan, CSA/ Stephen Kopel; Associate Director: Shaun Peknic; Movement Associate: Yasmine Lee; Music Supervisor: Fred Lassen; Associate Set Designer: Frank McCollough; Associate Lighting Designer: Peter Hoerburger; Associate Sound Designer: Alex Hawthorn; Production Manager: Aurora Productions; Company Manager: Chris Danner; Production Stage Manager: E. Cameron Holsinger; General Manager: Lisa M. Poyer Cast: Sarah McKinley Austin (Ivanka), Dani de Waal (Girl), Matt DeAngelis (vec), John Steven Gardner (Eamon), Evan Harrington (Billy), Ryan Link (Emcee), Benjamin Magnuson (Bank Manager), Alex Nee (Andrej), Erica Spyres (Ex-Girlfriend), Tina Stafford (Baruka), Erica Swindell (Réza), Scott Waara (Da), Stuart Ward (Guy).
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