Brigadoon
Lerner and Loewe’s Brigadoon is a somewhat unremarkable musical. Though the talents on display in the Woodminster Theater Company’s production are estimable, the show itself is rather forgettable; an offering from Broadway’s golden age when shows were churned out at such a rate as to consign most of them to the ash heap of anonymity, with a single signature number (the now classic "Almost Like Being in Love") to rescue it from such a fate. The plot develops so formulaically as to bring no surprises, and the song and dance numbers are treacly if satisfying enough.
Still, critiquing the attributes of the show itself is, in the case of the Woodminster Theater, to tell only half the story. The amphitheater in which the company stages its plays is a glorious Depression-era fortress complete with a cascading fountain behind the stage; and the setting for the building, back among the Oakland hills, inspired some of the great writers in California’s cultural history.
The lovely park in which the theater is nestled plays host to many a pre-show picnic and tailgate party, and the Woodminster’s clientele is not so much the theatergoing public as it is a dedicated fan base. Indeed, the puzzled looks this critic got when he took his seat speaks to the camaraderie that obviously grows between season ticket holders, and every break, every announcement, and every movement of folks to and from their seats seems to have its own comfortable ritual. Families attend together, and kids drink hot cocoa after the intermission before they drift off to sleep in their pajamas. In short, the Woodminster is not so much a theater as it is the scene of a warm and comfortable shared experience, and the show itself is in many ways overpowered by that experience.
That is not to say that the show itself was not well done. Indeed, as mentioned before, the talents at work are quite something, and special mention should be made of headliner Susan Himes Powers whose soprano has a gorgeous operatic potency; as well as scene-stealing youngster Meg Jaron’s riveting dance performance in an intense second-act scene. The production design and supporting performances are no less strong, and the Woodminster seems very much at home in that transporting yet friendly space where community theater meets the demanding world of professional entertainment.
In that sense, the production, presumably in common with others done by the company, is imperfect. There are flat moments and odd, even off-putting choices of direction, casting, and delivery. Yet for all that there are things that one can easily criticize about the production, the overall experience is delightful, and I have absolutely no reservations in assuring any reader that a single visit to this wonderfully unique company’s home will result in becoming, as I now am, one of a select family of ardent fans.
Brigadoon continues through September 13 at the Woodminster Amphitheater, Joaquin Miller Park, 3300 Joaquin Miller Road, Oakland, CA 94602. For more information visit the theater’s website.
