Review: ‘The Fantasticks’

'The Fanstasticks'

Yanks on holiday seem the only imaginable audience base for this overcast, cringe-tastic offering.

On paper, it seems remarkable that, despite its legendary success in Gotham (a 50-year run, with a few interruptions), “The Fantasticks” has never had a West End outing. But now that one has materialized, the wisdom of this omission becomes painfully clear: There is a massive sensibility clash between the tuner’s self-conscious sweetness and the enduring English sense of irony and detachment. Perhaps the only really clever move here is opening just in time for the summer tourist season. Yanks on holiday seem the only imaginable audience base for this overcast, cringe-tastic offering.

Amon Miyamoto, Tony-nommed for his direction of “Pacific Overtures” in 2004, caught the eye of creators Tom Jones and Harvey Schmidt when the Japanese helmer staged “The Fantasticks” in Tokyo in 2005. His innovations there, duplicated here in London, are a raked, diamond-shaped playing area that allows for two small banks of onstage seating (enabling some faux-audience participation, which turns out to involve cast members pretending to be spectators), and an oppressively dark, pared-back staging that (sort of) transforms the mute (Carl Au) into a meant-to-be-invisible kuroko stagehand figure.

The actors are high-powered but underused: Hadley Fraser’s confident, knowing manner manages to lighten the often portentous quality of the narrator’s lines, and we only get the quickest snatches of Clive Rowe’s improbably light-footed charm (and world-class voice) as the boy’s father. Veteran actor Edward Petherbridge offers a few priceless cameos as the dotty old actor, and Paul Hunter adds a whiff of contempo comedic absurdism as the one who dies.

But overall the sense of self-conscious cuteness, and attempts to turn this cultural hodge-podge into a celebration of universal values of love and harmony seemed inevitably doomed in this market.

The Fantasticks

Duchess Theater, London; 470 seats; £65 top


A Kumiko Yoshii for Gorgeous Entertainment, John Gore and Thomas B. McGrath in association with Nica Burns and Max Weitzenhoffer for Nimax Theaters, Lawson Entermedia, David Milch, TBS Service and Mars Theatricals/Mort Swinsky/Koichi Ito presentation of a musical in two acts with book and lyrics by Tom Jones and music by Harvey Schmidt. Directed and choreographed by Amon Miyamoto.


Sets, Rumi Matsui; costumes, Nicky Shaw; lights, Rick Fisher; sound, Mike Walker; musical director, Tom Deering; orchestrations/musical supervision, Jason Carr; production management, Crosbie Marlow Associates. Opened, reviewed June 9, 2010. Running time: 2 HOURS, 30 MIN.


The Narrator (El Gallo) - Hadley Fraser The Girl (Luisa) - Lorna Want The Boy (Matt) - Luke Brady The Girl's Father (Hucklebee) - Clive Rowe The Boy's Father (Bellomy) - David Burt The Old Actor (Henry) - Edward Petherbridge The Man Who Dies (Mortimer) - Paul Hunter The Mute - Carl Au
With: Ross Aldred, Mathew Craig, Ceili O'Connor
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