Big Fish – A Tale That Hooks You by the Gills and Doesn’t Let Go

 

          Rare is the person with a fisherman friend who hasn’t heard him boast about the huge fish he once caught. The finny prey only seems to get larger and larger with each repeated telling.

The tendency to exaggerate, embellish and fabricate tales seems to be a commonplace human trait. In literature, ponder on James Thurber’s short story, “The Secret Life of Walter Mitty”,” considered Thuber’s best. To color the rather drab life experiences of Thurber’s title character, the writer has him delve into daydream fantasies that give him a heroic and, sometimes, outlandish adventures.

Additionally, in playwright Peter Shaffer’s satirical comedy drama, “Lettuce and Lovage,” the protagonist is seen as a tour guide in a rather unremarkable, unassuming manor house, who embellishes her prepared script with impromptu exaggerated quips to make the tour experience more exciting and colorful.

Which brings us to “Big Fish,” a musical based on Daniel Wallace's 1998 novel, “Big Fish: A Novel of Mythic Proportions,” and the 2003 film Big Fish written by John August and directed by Tim Burton. The current production at Little Lake Theatre in Canonsburg is just as big as its title suggests. With a cast of 24, the lengthy show is replete with song, so many costume changes that costumer, Alex Righetti,  must have worked overtime to get everyone fitted and enough dance routines to satisfy the most terpsichorean-driven patron.

The show opens thematically on the shores of an Alabama River, where Edward Bloom (Evan Krug) is seen showing a fisherman the correct, but, fanciful, way to catch fish. This sets the tone for future tales that defy probability.

This fast-moving play then shifts to a scene between father, Edward, and son, Will Bloom (Timothy Macuski) just before the latter’s marriage to Josephine (Hopi Myers-Arrigoni). Wanting to avoid the embarrassment of having his guests and bride listenito his father’s tall tales, he entreats his father to restrain his taletelling impulses.

The story line vacillates back and forth in time to Edward’s past dredging up memories of adventures with a witch (Maddie Kocur), a giant named Karl (Trenton Antill) and a mermaid (Grace Wellmon). It explores Edwards time in a traveling circus troupe where he encounters the love of his life, Jenny Hill (Mairead Roddy).

Because his father spends so much time away from home, Will feels as if he barely knows the family breadwinner. Much of Will’s stage time is spent trying to get a more accurate grasp of who his father really is and to separate fact from fiction. His prodding and inquisitiveness cause a lot of friction between father and son which sometimes reaches the breaking point.

Trying to keep the two men in her life on an even keel is Edward’s wife, Sandra (Madison Eveland), who joins Krug in one of the musical’s most poignant tunes, “Daffodils.”

The musical is replete with tunes that bolster and go on to further the narrative. One of my personal favorites is the snappy rendition of “Little Lamb from Alabama,” sung by Madison Eveland, Mya Clay and Maddie Leschak. Providing the backup is a quartet made up of Ben Brosche (music director/keyboard), Gavin Nist (cello), Aldo Diianni (bass) and Kamran Mian (drums), who add sufficient amplitude and expertise that underpins the larger aspects of the production.

The book writer, John August, successfully balances humor with sadness in a production that will have you both chuckle at times and reach for a Kleenex at other moments.

The best burst of humor in the play comes from the circus ringmaster, Amos (Andy Coleman), whose secret identity gets a playful moment that may be a clever and original device by director, Nathan Walter. Watch for it, it’s hilarious.

As Edward, Krug is wisely cast as he creates a convincing character and has the vocal skills to competently fill the musical requirements. He exudes an attractive energy, creates a likeable character and interacts well with his wife, son, his boyhood rival, the contentious, Don Price (Mike Good). He also has the ability to fascinate with his audacious tales, with an allure cut out of the same persuasive cloth as, say, a Harold Hill from “The Music Man.”

Macuski displays a burning steadfastness and aggressiveness in his attempt to better understand his father, shows his tender side in his relationship with his wife and, at last, comes to a dramatic rapprochement with his father.

You have to admire Little Lake Theatre Company for undertaking such a big and challenging show. In what should be a successful run, they should be commended for carrying off the various theatrical ingredients swimmingly, down to choreographer, Caroline Connell’s sparkling choreography.

“Big Fish” is at the Little Lake Theatre, 500 Lakeside Drive South in Canonsburg, through September 27. For tickets, log onto https://www.littlelake.org/