MSJC's The Legend of Sleepy Hollow

After Halloween, MSJC hosted its own haunted weekend. The Legend of Sleepy Hollow, an original musical written and directed by Michael Tennant, ran from November 5-7 and November 12-14. Most of Sleepy Hollow's main flaws stem from its writing, but that is also where its strengths lie in wait.

Unfortunately, the first half of Mr. Tennant's Sleepy Hollow is muddled, rushed, and directionless. He's tried to squish too much narrative into the first act, which makes it confusing, plus, there are several flashbacks that aren't clearly delineated as flashbacks. Though this setup is meant to clarify the story, much of it could have been condensed. Additionally, there are several moments which should have been drawn out, but whose beats were cut off, as if the play was rushing off to the next scene -- which was disappointing, because the next scene did not forward the story. For the most part, the musical numbers, though not rushed, did not particularly forward the story or deepen the audience's understanding of the characters. Moreover, the choreography for these numbers was often bland and gestural.

Another problem with the play was its dialogue: many of the conversations were wordy and repetitive, padded by superfluous, cliche lines and As-You-Know-Bob's -- especially in the scenes with Katrina, Ichabod, and Elise. Many of these lines should have been clipped off here and there -- but as they weren't, it's no wonder this play lasted two and a half hours.

Though most of the production's weaknesses were the result of problems with writing, the writing was also one of its strengths. While the first half dawdled along, the second half picked up the pace with more shocking murders, suicides, and revelations that made up for the confusion prevalent in the previous act. The complete plot and back story, once they became clear, were fascinating. This play is not based on either Washington Irving's story, nor the Disney cartoon, nor the recent Tim Burton movie. The only things they have in common are places, character names, and the headless horseman. Tennant's twisting of the tale to include witchcraft, betrayal, and a love curse is suspenseful and satisfying to watch. Besides the surprising murders and suicide, some of the best parts came in the form of comic relief. When Brom Bones (Arthur Baum), Willy (Josh McLendon), Warton (Tory Reynolds) and the schoolchildren (Michelle Browning and Michael McLendon) show up on stage, the dialogue is cut short, sweet, and funny. Brom Bones chats up the ladies and sneaks around in a dress; Willy watches the headless horseman pee in the bushes, and both he and Warton attempt to use Bones's favorite pick-up techniques on the ladies.

Though there could have been some definite improvements in dialogue, clarity, and editing, the second act of The Legend of Sleepy Hollow made up for the first act's shortcomings. Brutal stabbings, headless bodies, hilarious villagers, and a curse that crossed generations of lovers saved this play and made it worth seeing.

The Fantasticks

Without a hurt the heart is hollow.

Mt. San Jacinto College performed The Fantasticks these past two weekends. Written by Tom Jones and Harvey Schmitt, it is the longest-running off-Broadway musical (though it’s now on Broadway); this shouldn’t be surprising, as it’s the story of Romeo and Juliet—minus the double suicide.

MSJC’s production was directed by Darren De Priest, who has recently done The Spitfire Grill and Blithe Spirit. In the lead were Carmina Manley (The Tempest), Danny Guererro (The Mystery Plays), and Ashley Henley (Little Women). The two men who had been cast as The Narrator/El Gallo dropped out, so Ms. Henley took on the part just two weeks before opening night.

Louisa and Matt (Manely and Guererro) are neighbors whose parents want them to marry. But because children only do things “the minute that you say no,” their fathers have built a wall and feigned a feud so Louisa and Matt will fall in love. Unfortunately, once married, they’re not as content with each other as they thought they’d be. Consequently, Matt leaves to see the world while Louisa takes up with the rogue El Gallo, and they only reunite when they learn that “without a hurt the heart is hollow.” Among the themes explored are love and pain, reality and illusion.

Though the whole cast had lovely voices, I enjoyed Ms. Henley’s performance the most. The Narrator/El Gallo (oddly enough) is the deepest, or most multi-faceted character in the musical—and Ms. Henley did justice to the part with her charismatic performance. El Gallo was always fresh and captivating. Also funny was Kevin Quam’s version of Mortimer, or The Man Who Dies, as an Indian with a cockney accent. On the other hand, Ms. Manley occasionally felt monotonous—she used the same frilly hand gesture for the length of the play, and Arthur Baum, as Henry, was both unconvincing and hard to understand.

In addition to their singing, the actors danced well, and the fathers were especially funny in their restrained-yet-silly step dancing. Besides the fathers’ numbers in which they sympathize with each other about the contrariness of children, the best choreography showed up in the campy abduction scene.

Costumes, lighting, and set design (from the “Prop Box”) were delightfully minimal and eclectic, with kind of a home-made feel. These choices added to the silliness and allowed Mortimer, at one point, to wear a purple paper pirate hat.

The Fantasticks was definitely one of MSJC’s better performances.