“This town is only a cursed place, if ye make it so. To the rest of us, ’tis a blessed place!”
If one line were to summarise this slightly darker adaptation of Brigadoon at Regent’s Park Open Air Theatre, it would be the above. Adapted by director/choreographer Drew McOnie and writer Runa Munro, the beloved musical fantasy transports us to the Scottish Highlands where two outsiders stumble upon the enchanting village of Brigadoon, but soon find that all is not as it seems. The production is one of high risk and sadly less high reward, thriving when it embraces the blessed whimsy of its source material, but stumbling with the artistic decision to add the dark, cursed cloud of World War Two to an already turbulent plot.
There is much to praise about McOnie’s take on the 1947 Broadway classic, chief among them being its musical elements and performances. Musical director Laura Bangay and orchestrator Sarah Travis don’t waste a note, expertly filling the London skies with a beautiful orchestral arrangement. Meanwhile, McOnie and associate Ebony Molina’s choreography makes every second that the ensemble dances a magical one, with an intoxicating mixture of grace and robust acrobatics conveying moments of joy, love, and sorrow in standout numbers like I’ll Go Home With Bonnie Jean and The Sword Dance.
The production is also blessed with a diverse and dynamic cast. Danielle Fiamanya delivers a powerhouse performance as Fiona, commanding the stage with a mixture of wit, charm, and tenderness all while making challenging songs like Waiting For My Dearie seem like child’s play. Cavan Clarke handles both comedic and dramatic material effortlessly in the role of Jeff, and Nic Myers’ performance as Meg is an uproarious delight.
Special praise must also be given to Gilli Jones, whose standout performance as the infectiously giddy Charlie set the stage alight at every opportunity, and proved both his vocal prowess and his mastery over the physical demands of what was surprisingly his first professional stage debut.
A final shoutout has to go to the stage crew who handled an impromptu, rain-induced pause with show-stopping professionalism.
Unfortunately, the stellar performances are impeded by an uneven second act, with the largest casualty being Tommy, played by Louis Gaunt, who struggled with an adaptation that necessitated a drastic transformation from a wounded, world-weary WWII pilot to a love-struck true believer.
While there is some thematic merit in bringing the defiantly jubilant Brigadoon to a world ravaged by war, fascism and division, the show’s adapted ending, however, falls flat, shifting more into melodrama than bittersweet optimism. And Basia Bińkowska’s set design utilises the stage’s natural surroundings beautifully, but the costuming choices prove to be somewhat underwhelming.
Despite its drawbacks, Brigadoon is a joyous ride with great performances, astounding choreography, and pleasing musical flourishes. This adaptation wears its diversity with pride while incorporating the play’s Scottish influences, making it the perfect late-summer entertainment for Regent’s Park Open Air Theatre.
