"Another quirky Sondheim musical that still resonates. Humorous and Insightful in the intimate outdoor setting of a Barrie home. The witty cast makes the production a crowd pleaser."

Freely adapted by Stephen Sondheim, Burt Shevelove and an even freer adaptation by Nathan Lane (known to play many of Sondheim's works,) 'The Frogs' is a musical that I've rarely seen performed from my experience. A quick online search revealed that it sometimes appears on college and university campuses, as well as in some smaller theatres. The first production of 'The Frogs' took place in the Yale University swimming pool in 1974. That's a cheeky choice, but it's a good one. Why? Frogs need water to survive. The River Styx holds great importance, as a significant portion of the plot unfolds around water.

An often-hilarious retelling of Aristophanes' tale of the same title, the god of wine and drama, Dionysos (John-Michael Scapin), has lost all faith in a divided humanity while watching the Peloponnesian War. The political climate is a hotbed of a mess. The only solution for Dionysos is to travel to Hades with loyal servant Xanthias (Taylor Garwood) to bring back a favourite writer – George Bernard Shaw (Richard Lam) – and to end the war and return stability, particularly in the shaky world of the arts and artists.

 While venturing to Hades, outlandish comedy follows.  Dionysos receives advice ironically from his half-brother Herakles (Kyle Brown) while confronting a frightening reality: Frogs in the River Styx.  Upon arrival in Hades, Dionysos must avoid all temptation while there to complete his task – finding George Bernard Shaw. Dionysos finds Shaw but also another writer who has probably held just as much influence – that of William Shakespeare (Nolan Moberly).

In this energetically spirited Talk is Free production, we are on the spacious outdoor grounds of a private home in Barrie. The time is present. The setting is Ancient Greece. Set Designer Vavara Evchuk's intimate theatre-in-the-round setting works well. The audience sits mere feet away from the fast-moving plot action.  Evchuk's costume selection remains colourful. I especially liked the green colour on the Frogs' costumes.  Scapin's designer-looking summer suit is the perfect touch for the all-powerful Dionysos. Jeff Soucy selects props that, at first glance, might not seem necessary.  They do as the show continues.  For example, an origami frog sits centre stage at the top of the show. When I first saw it, I couldn't figure out what the object was from my seat. The origami frog makes sense later in Act One.

Erik Richards' sound design remains top-notch throughout. Thank you for allowing me to hear everything, from the burbling water during the pre-show soundscape design to the sound of croaking frogs and the sometimes delicious yet naughty innuendo behind the lyrics. Shadowy lighting effects by Nic Vincent also create the feeling that there's something uniquely distinct about the world we have just entered.

The creative collaboration team, comprising choreographer Julio Fuentes, music director Ben Page, and director Griffin Hewitt, is stellar. The three certainly know a thing or two about staging a show where timing must fly like the wind. Several of Fuentes' musical numbers are sharp in their staging. The performers move around in front of, around, and behind the audience and upstage towards them with impeccable precision in quick timing. "I Love to Travel" caught my attention as the characters move in soldier-like precision as if they are on parade.  Ben Page's work in music direction focuses awareness on the humour or commentary behind the musical number. His shtick at the top of Act 2, just before the performance continues, is a delightful throwback number to the ol' vaudeville stages.

Griffin Hewitt makes some dandy choices in his capable hands as director. The first is to keep the production as intimate as possible by staging the action in front and behind the audience seating area. By doing this, Hewitt's next choice to have audience participation makes sense since we already feel part of the play.  If you become part of the action of the moment, go along for the ride.

The strong ensemble of actors is the main reason to see the show either in Barrie or at the Shaw Festival when it transfers. The actors are constantly on the move. They dutifully maintain the quick pace necessary to sustain audience interest in the show.

Richard Lam opens the show by breaking the fourth wall and speaking to the audience. He's confident and strong.  He also has a great deal of fun with the text this early in the play. Due to the U.S. tariffs, Lam informs the audience that director Hewitt was unable to fully cast the ensemble because the rights to pay were astronomically high. The audience, therefore, will sometimes function as the chorus. Lam remains assured when he speaks as George Bernard Shaw in voice and stature. His business in 'facing off' with Nolan Moberly's William Shakespeare, as both men quote their respective works aloud, reveals a grounded credibility in both actors. Like Lam, Moberly remains confident and strong in his Shakespeare. It's a challenge to decide who has the most substantial artistic and literary influence. Lam and Moberly remain grounded. Each sounds convincing in his soliloquy work.

John-Michael Scapin's tall, lanky frame adds credence to his performance as a towering Dionysos. His smartly coiffed Miami Vice (wow, this reference makes me old) dazzling white couture 90s suit marks Scapin's uniqueness as a major God from Greek mythology. As Xianthias, Taylor Garwood is a loyal and trusted compatriot to Scapin's Dionysos.  The former delivers zestfully some one-line zingers just as the latter does, all in the name of love and care for their leader. The relationship is sweetly charming but not sappy.

As Dionysos's half-brother, Herakles, Kyle Brown pokes fun at another of the great Greek gods.  While Herakles is known to be a strong warrior, Brown's effeminate portrayal is a riot but never becomes uncomfortable. Brown showcases his vocal range, flair and style in his musical number' Dress Big' with vivacity.

This outdoor production also delves deeper into the elements of war and what frightens people the most about a world that continues to burn and rage, sometimes with fire (which sounds relatively close to the heart at this time). Adaptor Burt Shevelove (with an even freer adaptation by Lane) refers to some bizarre, unusual, and peculiar elements that creep into the story, making it dramatic for a few moments. When that occurs, most notably in the songs 'Ariadne' and 'Fear No More,' the melodies become quite touching to hear.

While 'The Frogs' is rarely performed, please go to see it before the show closes on July 5 in Barrie. Alternatively, you could also see it when it plays on the grounds of the Shaw Festival July 11 – 13.  For tickets and more information: www.tift.ca

Running time: approximately two hours and 15 minutes with one interval/intermission

TALK IS FREE THEATRE, Joan and Robert Gilroy present

THE FROGS written in 405 BC by Aristophanes.  Freely adapted by Burt Shevelove
Even more freely adapted by Nathan Lane
Music and Lyrics by Stephen Sondheim
Original Direction and Choreography by Susan Stroman

Directed by: Griffin Hewitt
Music Direction: Ben Page
Choreographed by Julio Fuentes
Set/Costume Design: Varvara Evchuk
Lighting Design: Nic Vincent
Sound Design: Erik Richards
Production Manager/Props Design: Jeff Soucy
Technical Director: Jeff Bornstein
Stage Manager: Alana Freistadt      Assistant Stage Manager: Conner Bustamente

Performers: Kyle Brown, Crystal Casera, Sydney Cochrane, Dean Deffett, Taylor Garwood, Richard Lam, Nolan Moberly, John-Michael Scapin