by Andrew Lloyd BaughmanProducing Artistic Director
As a fan of all off-beat musicals, it's strange to confess that I just saw The 25th Annual Putnam County Spelling Bee for the very first time today at Maryland Ensemble Theatre in Frederick. In retrospect, I'm glad that I waited to see it produced by this uniquely talented theatre company that has always held a special place in my heart. There will be other productions of Spelling Bee in our region over the coming months, but I recommend that you see THIS production - for several reasons, not the least being that it features our own Matt and Amy Baughman, who have helped build Landless with their many entertaining performances over the years. They are matched by an ensemble of actors who are equally skilled at creating outrageously lovable characters under the direction of MET Associate Artistic Director Gene' Fouche, who understands the organic nature and nuance of comedy better than any director I have known.
The plot is pretty straightforward: YOU, the audience member, attend a children's spelling bee in Putnam County. [That's right, it's the most comprehensive title since Snakes On A Plane.] If you're lucky, you might even get a chance to participate in the Spelling Bee. I thought I had seen the depths of "audience participation" fully plumbed, but to give credit where it is due, Spelling Bee elevates the form to a new level. No cheap toss-off gimmick, here, these [victims] are on stage and integrated into the action for the entire first act of the show, including dance numbers! At intermission, one young participant informed me that he was selected just before the show and given 10 minutes to prepare with the cast. This is a brilliant feat of improv, executed seamlessly by the MET. If you have an unsuspecting loved one who is celebrating a birthday, I strongly suggest you show up early and bring some cash to bribe the MET folks.
In Spelling Bee, you get to spend a couple hours with a group of Peanut-esque adolescents who each represent some type of weird kid you probably knew in your tweens, or maybe the weird kid that you used to be; for instance, I identified with the boy who... um... never mind, it's kind of indelicate, you don't want to know.
Which brings me to my one and only gripe with this show, and It has nothing to do with the production or the script. It has everything to do, however, with Our Society.
You see, having never seen the play before, all I had ever heard about the show was "it's so funny, but it is definitely NOT APPROPRIATE for children." I was expecting to see something very scandalous, but was met instead by a quirky musical with one foot firmly planted in mainstream musical theatre. By my observation, the only remotely nefarious element of the show involved a scene about a boy getting an untimely erection. Considering this is a pretty common and natural part of growing up for all boys, it's kind of disturbing that we're all dubbing this play "inappropriate" for kids. Sure, this phenomenon is always a little embarrassing for the "erectee," but isn't this a topic we can laugh about as a family? Isn't this something family members should feel comfortable talking about with one another after the show? Way to make boys feel ashamed about their confusing hormonal changes, America.
Oh, no, wait. I just remembered. There is also a kid with two gay dads. I stand corrected: WILDLY INAPPROPRIATE.
But I digress.
The cast is uniformly outstanding. My favorite is MET Producing Artistic Director Tad Janes as Vice Principal Douglas Panch. Tad is a master comedic actor with a full arsenal of tricks. His chief weapon is his ability to build an absolutely ridiculous characterization anchored by smart humor. I have no doubt that his take on Panch is one-of-a-kind, and that's another strong reason to check out THIS production. Allison Lepelletier reveals more than just strong vocal chops as Marcy Park, she can also flip, fence, rock out on piano and twirl a baton with surprising proficiency. Sister-in-law Amy retains her championship title for superior deadpan and comic timing as Logainne Schwartzand[somethingIcantspellorremember], and Maura Lacy is perhaps the most successful cast member in riding that fine line between wacky caricature and realism. I suspect she deserves the lion's share of the credit for an unexpectedly touching friendship with the bizarre William Barfee, played by my notoriously hammy brother.
Perceived biases be damned, Matt's "Barfee" earns my Scene Stealer Award. He pulls out all the stops, including many of his trademarks: the patented slow motion walk, face-plant into a pillar, and killer dance moves. Not content to rest upon his comedic laurels, he also delivers an excellent vocal performance of a difficult role to sing. The audience was rooting for him all the way until [SPOILER - DELETED BY EDITOR].
Alison Shaffer provides solid music direction, and leads a two-piece combo that makes it possible to hear all of the voices clearly without amplification. This score just feels right in the intimate MET theatre, where at one powerful moment harmonies fill the house from actors staged around the audience - you get a chill and feel as though those harmonies are rising up from under your feet.
To sum it up - or spell it out [there, obligatory pun achieved!] - make the trip up to Frederick to see this show while you still can. You'll be glad you did! Buy your tickets now, they will sell out - www.marylandensemble.org
T-2-5-A-P-C-S-B is LANDLESS APPROVED!
