Theater review: Woody Guthrie’s American Song

by John Garcia of of John Garcia's The Column

Hang your head out of the window for a second ... do you hear the rousing folk revival that is pouring out of Theatre Too? If not, then what are you waiting for? There is a radiant, good ole revival happening downstairs at Theatre Three with their current offering, Woody Guthrie's American Song.

Let's begin this review with an admission: I had no earthly idea whatsoever on who Woody Guthrie was. Zero. Nada. Zilch. In my over filled head of endless thoughts, my memory circuits fizzled down into my brain the following information, "John. I think Woody Guthrie is some hippie/activist who sang at Woodstock." Oh. Ok. Honest. That's who I thought this guy was. But give me a brownie point for getting the "activist" part right.

So I did some research to find out who this man was before I attended Thursday's performance at Theatre Too (the black box theater downstairs at Theatre Three).

Here's what I learned about Mr. Guthrie, first being the man was never at Woodstock, nor a hippie.

His full name was Woodrow Wilson "Woody" Guthrie and he was born in Okemah, Oklahoma on July 14, 1912. His father (a local politician) actually taught him as a boy all sorts of folk songs (including Scottish and Indian songs).

During his youth he lost his younger sister to an accidental death, and his own mother was institutionalized. She had Huntington's disease which caused her to be put in a state mental hospital. That's not even adding the horror that the family went into financial ruin after the oil wells around Oklahoma dried up. So Woody left for Texas, where he fell in love and got married (having three children). He would go on to have three marriages, resulting in eight children.

It was during this period (1931-33) that he formed a singing group called "The Corn Cob Trio." Alas, the trio never really found true success. The great depression was happening all around Guthrie, so he hitchhiked and traveled on train box cars around America, trying anyway he could to earn an income. Once he arrived in California, he began to blossom as a folksinger and writer, but also a voice for migrant workers.

He had a guitar that he often performed with that had the slogan "This machine Kills Fascists" written right on it!

Because of his many travels from Oklahoma, to Texas, to California with these migrant workers, he discovered the world of traditional folk and blues songs. It was because of these very songs which influenced his writing, churning out many songs about the life of the migrant worker, the depression, and the dust bowl life of his youth. In fact, he was given the nickname "Dust Bowl Troubadour."

It was also rumored that Guthrie had an association with several communist groups. But there was never any real proof that he was.

Guthrie died on October 3, 1967 from complications of Huntington's disease, the very disease that took his mother.

Director Bruce R. Coleman has loved this show for almost 15 years, and his vision of this folk soaked "revue" blossoms lovingly at Theatre Too.

Coleman not only directed the piece, but also designed the costumes and set. Normally when a person tackles all three production elements, one of them will suffer. Why? Because maybe there was too much focus on directing, and not enough on the sets, or the costumes were an afterthought. Not for Mr. Coleman. Each production value is rich and detailed.

The costumes do look like they came right out of the depression area. Plain, simple cotton dresses for the girls, while the men are dressed in neutral colored pants, overalls, and shirts that reflect the working man.

Coleman's scenic design is marvelous. He did not allow the small space to hinder him whatsoever; instead he created the perfect setting. For its central piece, he designed a wooden stage that had that old country hometown barn/vaudeville look to it, right down to those old fashioned lights that trim the stage floor (the ones with candles in them). The stage has a charming "proscenium" adorn with angels and old gas lamps. Upstage center, Coleman has various backdrops that aid the audience through the story.

Kudos must also be given to Lighting Designer Paul Arnold. The use of blue and vanilla hues to saturate those folk numbers were perfection. You could feel the heat of the dust bowl or the loneliness of riding a box car late at night with Arnold's lighting. I particularly enjoyed the lighting he created for the movement of the box cars across the railroad tracks.

The direction here is in a word, flawless. Again, this is a tiny space, but you never notice the confines of it by the blocking and staging. The cast is spread into various formations and "picture windows" that reflect visual charm and depth. The staging is festive and purposeful, giving the show yet another coating of enjoyment.

Musical Director Terry Dobson does a magnificent job of creating such a tight, sublime balance of harmonies and solos. The attention to detail within the period of the music and how it should be sung is a testament to the brilliant talents Mr. Dobson possesses.

You know those Whitman samplers that are created by Russell Stover, the candy company? Those brightly colored boxes that contain an assortment of sweets & chocolates? You tear away the cellophane; open the box and a rich, sweet odor of delicious aromas float into your face. But now you have so many choices to pick from! Which ones are your favorites? Which grab your attention first? There's too many to choose from.

That's what this fantastic, tight, and superb cast resembles in this production. They are a Whitman's sampler of delicious sweets of glorious songs and voice. An array of outstanding musical numbers that you just can't pick just one or two, because they were all just terrific!

This cast plays on stage guitars, mandolin, piano, harmonica, and even a paper tambourine! They move effortlessly under Coleman's staging speaking Guthrie's voice, thoughts, and opinions through song and acting with effulgent results.

Sherry Etzel, Doug Jackson, N. Wilson King, Arianna Movassagh, Alexander Ross, Daniel Svoboda, and Willy Welch make up this first rate ensemble.

Under Dobson's musical direction, the harmonies here are lush, full, robust, and exquisite. Their voices blend and intertwine, weaving a soothing cloth of folk music that warms the audience's heart.

Special round of applause must go to Christina Harpine, who plays the fiddle with finesse within this folk family.

Confession two: I honestly did not know 99.9% of any of the songs performed, except one. I felt embarrassed as several in the audience would sing along or I would hear several audience members voice their agreement or knowledge of the song.

Like I said, it is impossible to pick from this Whitman's sample of delights of what were the best numbers of the evening. But I'll try on some, but do know they all were stunning musical numbers of voice and song.

As an ensemble, they soared with vocal finesse on such numbers as "Hard Travelin," "Union Maid," "The Sinking of the Ruben James," "Better World/Lonesome Valley;" and the number I did know from school --"This Land is your Land."

Ms. Movassagh, Ms. King, and Ms. Etzel have a beautiful trio number with "I Ain't Got No Home" that in an ironic twist, reflects what is happening right outside our world today.

Jackson, Ross, Svoboda, and Welch do a sensational job with the quartet number titled "Nine Hundred Miles;" their harmonies here were golden from beginning to end.

Sherry Etzel (who knew she could play guitar!) had a crowd rousing number as a saloon gal with "Hard Ain't It Hard."

Another ballad that was really done with honest compassion was "Another Man Done Gone," performed by Willy Welch.

Natalie King lifted the rafters with her soulful voice with the fiery "Union Maid" and "Grand Coulee Dam."

Doug Jackson as "The Cisco Kid" and Willy Welch as Guthrie had a delightful and humorous duet, "New York Town." As two competing singers on the streets of New York performing for coins, they had the audience laughing all the way through the number.

Sherry Etzel and Arianna Movassagh deliver a heart tugging duet with "Worried Man" as they sing by a warm fire. Just first rate vocals pour out from these two ladies with this number.

It was a wonderful and pleasant surprise to see 2006 Ben Brettell Award winner Daniel Svoboda in this production. I had the delightful pleasure to see him play the leading role in Barum at MacArthur High School when he was a senior. So now to see him as an adult performer, he has grown into his talents beautifully. With a solid baritone voice he sings with a twinkle in his eye. This talented fellow also plays the guitar and mandolin with dazzling musicianship.

But if I HAD to pick my personal favorite numbers of the night, it would have to be these two numbers:

Alexander Ross delivers a soft, poignant performance with the ballad "Dust Storm Disaster." He pierces into the lyrics to fully grasp Guthrie's voice and heart. Ross's tenor vocals are splendid here with a vibrato that supports his notes with ease and control. It was one of the most touching, personal solos that stood out for me within this already talented evening of numbers.

The other personal favorite of mine was "Deportees," which is sung by the eternally youthful Arianna Movassagh. This song was about an actual airplane crash that happened back during that period. A plane carrying Mexican immigrants crashed, but in the media they were not given the dignity of being named, instead they were just called deportees.

Ms. Movassagh wears a black lace veil as she sings (both in English and Spanish) with heart breaking honesty the loss of those lives -- and yet they are not named. She shows great compassion and restraint with her approach to the lyrics and its subtext. The number also contains Alexander Ross adding his sweet, soft tenor vocals as an overlay with Ms. Movassagh's immaculate soprano voice, making this number truly touch many in the audience.

Speaking of the audience, I must say this: Sitting on both sides of me were some quite elderly audience members. I was quite moved and touched on how they reacted to the music. I'm not trying to be cruel or funny here -- but some might have been born during that time, or their parents for sure. So they really reacted to the music. On my right was a sweet, loving elderly couple who laughed, clapped, and just soaked in every single song. It moved them so much so, that it really did touch me. When the cast sang the finale, they stood up and showed such pride.

That is live theater my friends. That is why we love this art so much. To make the human spirit and heart to feel, react, and think.

I'm really glad I caught this show. This exceptional cast delivers so much great heart and spirit you can't help but sing along, tap your foot, or clap your hands. Theatre Too is having a big ole revival ya'll!

GRADE: A