Seven

Brides for Seven

Brothers” is the fifth show of the 84th season of the Ogunquit Playhouse. The first performance at the venerable playhouse took place before a packed house on Sept. 9.

The show is based on the story “The Sobbin’ Women” by Stephen Vincent Benet and an MGM movie, which was released in 1954. In 1982, the show was produced on Broadway as a Tony Award-winning musical with book by Lawrence Kasha and David Landay. The lyrics were written by Johnny Mercer; the music by Gene de Paul. (There are additional new songs by Kasha and Joel Hirchhorn.)

This blockbuster musical was created at a time when the plots for musical productions were simply a means to introduce songs, and in this case, also significant dance production numbers.

At the outset, I want to make a mea culpa. In a previous column, I mentioned that it was difficult to engage singers who could also dance and vice-versa. Well, it might have been difficult THEN, but it’s not at all that difficult these days.

As for the plot, set in the 1850s in Oregon (and well before women’s lib), a young farmer, Adam Pontipee, decides he needs a wife (to do the cookin’, cleanin’, washin’, and ride herd on his six brothers). So he rides to town to look for one.

He sees a spunky waitress named Milly, and decides that she is the one for him. She in turn thinks how nice it would be to have only one man to take care of, and agrees to marry him. When she arrives at his cabin, she is more than miffed at the sight and unruly behavior of his six younger brothers. Eventually, she teaches them some manners and even how to dance (“Goin’ Courtin’”). Eventually, they are brought to a social dance, where each is “smitten” by a young lady who returns the advances.

The plot thickens as the men from the town resent the attention paid to the newcomers, and a fight ensues with the brothers keeping their word not to fight back. Adam then relates the story of the Sabin Women and how they were kidnapped (“Sobbin Women”). The men go into town and accomplish the job and, to thwart capture, cause an avalanche that makes the pass to their cabin unpassable until spring.

When Milly learns of what has happened, she is outraged. The ladies will sleep in the house and the men in the barn “with the other animals.” Adam is riled, and leaves. After many incredibly outstanding dances, the show ends with the ladies marrying the brothers.

At the performance I saw, the audience gave the performers a well-deserved standing ovation.

I wish to first mention the imaginative set and scenic design by Anna Louizos, which contributed mightily to the production. There were incredibly energetic, spirited and visually moving dances choreographed by Parker Esse.

As for the principals, Nathaniel Hackman has a resonant baritone, and impressed from the start in “Bless Your Beautiful Hide.” He was at his most effective in the dramatic song “Where Were You?” In the second act, he would have given Howard Keel (who starred in the movie) a good run in the vocal department, but not in the charm department.

The part of Milly was played by Analisa Leaming. She has a beautiful soprano voice, which was at its most effective in the song “Love Never Goes Away.” She resembles Shirley Jones (the star in the musical “Oklahoma!”), and sings as least as well as Jones or Jane Powell, who starred in the movie of “Seven Brides.”

While all the brothers sing very well, I must single out Justin Schuman (Gideon), who had a featured part in “Love Never Goes Away.”

I thought the dance in the gym in “West Side Story” was the most effective sequence in a Broadway show. I was wrong. The ensemble dance in the Challenge Dance exceeds it.

There is ample opportunity for ensemble dancing by the brothers, by the ladies and also by the six men from the town. The person responsible for distinguished music preparation and direction is Jeffrey Campos, who doubled as instrumental performer and director of a group of seven superb instrumentalists.

I give my last salute to BT McMicholl, who directed this large and accomplished group of singers/actors and dancers. He knows his craft.

This marvelous musical continues at the Ogunquit Playhouse through Oct. 1. Call 646-5511 or visit ogunquitplayhouse.org.

— Morton Gold is a composer/ conductor, retired educator and arts reviewer.