Based on Edgar Lee Masters’ Spoon River Anthology, a collection of short poems, this musical adaptation features the residents of a small town mid-west graveyard returning to share stories of their lives and deaths with curious passersby. By turns funny and moving, Spoon River serves as a celebration of life.
Inspired by immersive theatre, the audience arrives as mourners to a funeral. Instead of entering the theatre through its main doors, the audience walks down a hallway decorated with black-and-white photos and files past an open casket with a young woman in it. An usher in black historical costume expressed his condolences on our loss, and we file across the back of the stage (a series of tombstones that make up the cemetery), before being guided to our seats for the service. This unique entrance certainly adds to the atmosphere of the show, which begins, appropriately enough, with a eulogy.
As the preacher finishes his eulogy and leaves the graveyard, the various dead residents of Spoon River sing “The Hill”, the first of Masters’ poems set to music, a bluegrass theme about how in death all are equal. Throughout the show, some cast members double as musicians, accompanying on the fiddle, percussion, and brass instruments in a folk style that’s reminiscent of Once. The mixture of Americana, Appalachian folk tunes and gospel music is not outstanding or particularly memorable on its own, but it works to set the period and tone of the show and alternates nicely with scenes of spoken dialogue. Some of the songs work more effectively than others, particularly a quiet duet between a husband and wife who sing about being in love and growing old and dying together, the penultimate song where the young woman whose funeral opens the show sings a bittersweet goodbye to life, and the final earworm, that encourages us to live life to the fullest with lyrics like, “you will die no doubt, but die while living” and “is your soul alive? then let it feed.”
Spoon River is very much an ensemble piece. The play unfolds through a series of vignettes, and the actors play multiple characters over the course of the performance, appearing as an individual figure only briefly for a short monologue, scene, or song. These short appearances and the lack of an overall arc for the characters or the show offer little opportunity for standout performances, and mean that the ensemble must cohere.
Although more than half the cast has changed since I saw the production two years ago, I thought performances from the new cast members were strong and worked towards a cohesive whole, with one exception. A rare standout from Spoon River‘s 2015 run for me and the friend I attended with was Colin Palangio as an arsonist (since none of the character names are provided in the programme, we referred to him as “pyro guy” until we could look up the actor’s name). This time around, I believe the role was played by Daniel Williston and I didn’t find his performance nearly as engaging or charismatic. Williston chooses to growl rather than belt his main song and on the night I attended this meant that his vocals were not strong enough to be heard over the orchestra.
On the other hand, Hailey Gillis remains a standout as Bertie Hume, the deceased young woman whose funeral the audience (passersby) is attending. In a floral dress with tears rolling down her cheeks, she is an ethereal presence with a distinctive voice as she sings a farewell to life. Gillis has the sort of presence that makes anyone watching want to see more of her, and I’m very glad that she’ll be leading the cast of new musical Onegin performed by The Musical Stage Company in May.
This was my second time seeing Spoon River and while I still enjoyed it and found the show unique, for me it lost some of its charm this time around. I think the format of the show both helps and hurts it. The eulogies and decision to have actors play multiple characters in shorter cameo appearances makes Spoon River distinct from other musicals, but without time to get to know the characters and their stories, it’s difficult to feel any deep attachment to them. Soulpepper is also primarily a play company and although they have a cast of actors who can sing, it’s sometimes evident that this is not a company full of singers.
Personally I tend to prefer musicals with strong storytelling, with characters who you connect with deeply, and with gorgeous music. Spoon River doesn’t tick those boxes for me, but I do know devotees of the show who have been to see it upwards of five times, so it’s a musical where your mileage may vary. I think it’s a show that should be experienced once for the unique premise and take on small-town history, but whether or not you’re engaged enough to revisit this sleepy graveyard town of secrets after that, is up to you.
Spoon River plays until April 21st, 2017 at the Young Centre for Performing Arts in the Distillery District. You can also catch it this summer at the Pershing Square Signature Center in New York City.
Photo of the 2017 Spoon River Ensemble, by Cylla von Tiedemann