BROADWAY SNAP-SHOT
by Russell Bouthiller
Dateline: 30 July 2003
BIG RIVER
The Roundabout Theatre Company and the Deaf West Theatre join in the revival of BIG RIVER: THE ADVENTURES OF HUCKELBERRY FINN, directed and choreographed by Jeff Calhoun. With a score by Roger Miller and a book by William Hauptman, BIG RIVER incorporates song and dialogue with American Sign Language, bringing to the stage a company of hearing, hearing impaired and deaf actor in a gentle telling of the Mark Twain classic.
The most poignant moment in BIG RIVER occurs with nothing more than motion. That motion is the signing of lyrics when, in the second act reprisal of "Waitin' for the Light to Shine," all goes silent. Briefly, we enter a world unknown to most of us; one denied spoken words and sung lyrics, yet full of music and rhythm. This is a concept so beautifully communicated that the heart swells with sensual identification.
BIG RIVER offers a simplified version of one of America's greatest and most controversial novels. Following the picaresque adventures of young Huck, Twain offers a moral commentary on old American values through adolescent eyes. Touching on subjects ranging from alcoholism and Abolition, Hauptman's book captures the author's winsome satire.
Making his Broadway debut, Tyrone Giordana stars as Huckleberry Finn and has been with the production since its beginning at the Deaf West Theatre and later at the Mark Taper Forum. Daniel Jenkins plays Mark Twain, the show's narrator. He also provides the dialogue and songs for Giordana's Huck, the role Jenkins originated in the 1985 Tony-winning production.
That one actor performs a role while signing and another, sitting off to the side of the stage, provides the voice may sound peculiar. But, under Calhoun's direction--augmented by Michael Gilliam's skillful lighting designs--the focus is never divided. Indeed, the integration of both signed and spoken language allows for a uniquely inclusive experience. For the hearing, we discover the full expression of language and song through the movement. And, for those who are hearing impaired, the show can be enjoyed without looking off to a far corner.
Giordana gives a charming performance as the bright-eyed Huck. With such expressive gestures delivered in silence, a distinctive bond developes between audience and actor. Jenkins gives us a folksy Twain and the twang of his voice blends deliciously with Miller's Blue Grass score. And, Troy Kotsur and Lyle Kanouse are perfectly slimy as the Duke and King and their inventive two-man take on the drunkard, Pap, keeps us seeing double.
Signed or spoken, all of the performances in BIG RIVER are on the money. But, the brightest star along the Mississippi is Michael McElroy. His portrayal of the runaway slave, Jim, is nothing short of spectacular. Singing "Muddy Water," "Worlds Apart" and "Free At Last," McElroy's incredible voice serves to remind how blessed we are to hear such a gifted singer.
BIG RIVER is a well conceived show, simply told and beautifully executed. Calhoun succeeds brilliantly in revealing the beauty and rhythm in communicating with one's hand. You are sure to leave the American Airlines Theatre signing.