Despite Mark Twain's pronouncement hat there are no moral lessons in Huckleberry Finn, one would be hard-pressed not to discover them in Big River, Roger Miller's and William Hauptman's rousing and award-winning musical adaptation of his seminal work now playing at the Wetumpka Depot.
To start the Depot's 40th Anniversary Season, director Kristy Meanor, matched with masterful musical direction by Randy Foster, gives audiences a lot of lessons to consider, both as reflections of pre-Civil War America, and commentaries on the racial prejudices evident at many levels of society in 2020.
Well-known from Twain's novel, the crux of the relationship between an adolescent white boy Huck [Chase McMichen] and a runaway slave Jim [Tony Davison] is expressed in the sensitive duet "Worlds Apart" where they show how people view the world through two distinct lenses, each one yearning for freedom: Jim from the bonds of slavery, and Huck from the constraints of the Widow Douglas [Cheryl Jones] and Miss Watson [Kim Mason] who want to civilize him with education and the Bible. -- The on-stage chemistry between Mr. McMichen and Mr. Davison is so very truthful, no doubt due in part to their many years sharing the stage at Faulkner University, so audiences are quickly caught up in their characters' lives.
During their many escapades on the Mississippi River, their bond is tested by outside sources and by Huck's dilemma: his natural goodness challenged to overcome society's dictates regarding slavery. Jim has become a surrogate father, his honorable qualities a direct contrast to Huck's persistently drunk and abusive Pap [Scott Page], causing the boy to re-think the teachings of virtually all his authority figures.
Though they try hard to avoid conflicts with bounty hunters, they do meet up with two comical snake-oil con-men who pretend to be a King [Hunter Smith] and a Duke [Jeff Langham], and try to bilk them of Huck's inheritance and "found money".
Further complications arise from Tom Sawyer [Mr. Smith again], whose naively unrepentant exaggerated schemes for adventure jeopardize Jim's life. -- And the hint of a possible youthful romance occurs when Huck restores an inheritance to Mary Jane Wilkes [Stanton Yarboroughs].
Twain's story is enhanced by the musical score of Big River, a compilation of a variety of musical genres, from novelty numbers ["The Royal Nonesuch" and "Hand for the Hog"], to energetic group songs ["The Boys" and "Arkansas"], to spirituals ["The Crossing" and "Free at Last" -- with heart-rendering vocals by Tara Fenn and Taylor Finch], to laments ["You Oughta be Here with Me" and "Leavin's Not the Only Way to Go"], to Pap's drunken tirade against the "Guv'ment" [a tour de force by Mr. Page that ensures his brief stage time will be remembered, both for his delivery and for the similar complaints so many people have today].
The ensemble cast have significant vocal talents, and follow Mr. Foster's interpretations to enhance the plot and their individual characters. -- And the focus of most of the score is left to the expressive, sensitive, and high-quality singing of Mr. McMichen and Mr. Davison: "River in the Rain", "Muddy Waters", and the aforementioned "Worlds Apart" are highlights both of their abilities as singers and actors in powerful roles that make this production of Big River a memorable evening of theatre.
