AAs my theatre companion and I entered Thalian Hall last weekend, I brimmed with excitement and reveled in childhood memories of my adoration for the film version of “The Secret Garden.” As a child, it transfixed me into a world of mysticism and offered a touching, soft and hushed tale of escape. Written over 100 years ago, “The Secret Garden” has captivated kids and adults alike since its publication in 1911. It has also seen its fair share of movie adaptations, a television show and numerous stage performances. The story tells of a young girl, Mary Lennox, sent to live with her hunchback uncle, Archibald Craven, after the death of her parents. As complications among the characters arise, all gets solved with the help of spirits, and the whole story ends in a redemptive, sappy fit—something definitely suited to please the faint-hearted.

From the minute the first curtain opened Opera House Theatre Company’s latest production, anguish beat the audience over the head, as sorrow of death belted through the deep chorus of “Dreamers.” “Soft and melodic” described the songs in the program, and while there were many that fit the description, others bathed in full choral depth suited for any typical musical. In the second act, “Wick” ventured into a cheesy-sounding ballad better suited for an ABC family-made movie. True, the appeal to a certain crowd was eminent, considering the boastful applause that erupted after the scene, but to a 20-something-year-old cynic like myself it was too over-the -top.

Musical stylings aside, the show itself tended to confuse—and that’s coming from someone who knows the story well. The portrayal of Mary’s spirit-guardians dying in the opening scene lost its power through abstraction; one by one, each pulled out a red handkerchief and simply backed away from the main action. Though a beautiful concept, the Dreamers were effective only in small doses. Often, they cluttered the stage and became a main contributor to the confusion.“What was that about?” my companion questioned after two spirits wandered about haphazardly, singing a few melodious lines. While they provided a useful scene transition, they could have been cut down to the five who actually made sense within the story line.

Lily Craven, the dead wife, was one of the influential Dreamers and a main component that moved the plot along. Played by Amy Tucker Morgan, her scenes with Archibald, portrayed by Jeff Phillips, held a genuine tenderness that brought the tension of Archibald’s loss to life. Toward the end of the second act, when attention faltered, a scene where Archibald actually felt and saw Lily’s spirit brought cohesion back to the forefront.

The spirits of Mary’s parents, played by David Lorek and Heather Setzler, provided interesting insight into the back stories of Lily’s and Archibald’s marriage, as well as Mary’s childhood in India. Despite a slow plot, the talented acting and singing saved the play. Phillips shone brightest with a bellowing voice and powerful stage presence that immediately drew the eye to wherever he stood onstage. At times, his extreme angst became overbearing and repetitive, but I attribute that to the script and not the acting.

Arianna Torello, the young actress who played Mary Lennox, was delightful. She offered dual sides to her character effortlessly. She switched from a selfish, snot-nosed brat to a caring, curious cupcake with such ease that I began to think it was her natural temperament.

Denise Bass, as Mary’s chambermaid Martha, brought welcoming comic relief to the cast, and exposed a Yorkshire accent with ease. Her timing and delivery of small one-liners always perpetuated a laugh from the audience. Her son Dickon, played by Jason Aycock, also provided a needed break from the play’s heavy swinging emotions. His contagious smile, loose movements and Disney-esque voice captivated onlookers without a doubt. Richard Bunting portrayed Neville Craven, Archibald’s brother, with a believable sour attitude. Still, his performance lacked the passion to make me truly feel he was tormented by his unrequited, secret love for Lily.

Beckoning the audience to use their imagination, the set remained sparse and proved effective in scenes that took place within the manor. Most boasted only one or two pieces of contemporary English furniture, and depicted an appropriate mood of emptiness and drab despair. The lighting always stayed warm and low to showcase a room illuminated by a multitude of candelabras.

When it came to the namesake’s scenes, those taking place in the secret garden, I wanted more: more visual stimulation, more connection, more whimsy. I could only take so much of the characters staring off as if they were surrounded by a bed of roses.

Despite my personal qualms, overall “The Secret Garden” remained charming and to some, even moving. In fact, halfway through the first act, my companion had shed a few tears. By the end of the show, the audience rose to a standing ovation. Thus, I can assume it succeeded to everyone fond of emotive love stories and family-friendly tales. For me, well, childhood memories should never be allowed to set expectations.

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Four Levels Deep:

Local actor/director/producer Anthony David Lawson has just added another credit to his title: writer. Mr. Lawson’s first show aptly named “The Title of the Play,” opens September 9th for a three-week run at the Browncoat Pub and Theatre. Lawson not only penned this new, strange little show, but he also stars as the leading character. Given that he is, in fact, directing himself in the very show he has written, in which he portrays a writer working on a new play, we at encore felt that there was only one person who could ask the really tough questions and get to the bottom of this latest Guerilla Theatre experiment. That man is Mr. Lawson himself.

By: Anthony David Lawson- September 8, 2010

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