There are so many virtues in the current Lamb’s Players Theatre production of Lucy Simon and Marsha Norman’s 1991 musical, “The Secret Garden” one hardly knows where to begin.
One might start with Frances Hodgson Burnett’s 1911 novel of hope and redemption upon which Norman based the musical’s book and for which she received a Tony Award. Those who’ve wept over the book might consider those who’ve not emotionally deprived. Those who did not weep, well, they might be better off staying home.
Granted, the story is overwrought and Gothic, and Norman’s lush score ramps it up even more. Be that as it may, this writer has been a sucker for the whole shebang ever since her first experience of it on Broadway, where young Daisy Eagan copped a Tony for her portrayal of the orphaned 10-year-old Mary Lennox.
In the opening scene, Mary (the capable, 12-year-old Allie Trimm of Escondido) is the only survivor of a cholera epidemic that sweeps through the English compound in Bombay. Shipped off to live with her mother’s widowed brother in Yorkshire, she is haunted by the ghosts of her Ayah (Bathsheba Wilson), a Fakir (Carlos Mendoza), party guests, and her parents (Colleen Kollar and Mike Buckley).
Her uncle Archibald’s estate is also haunted, principally by the ghost of his wife Lily (radiant Deborah Gilmour Smyth), who died giving birth to Colin (truly excellent Austyn Myers), a child convinced by his physician/uncle Neville (Randall Dodge) that he is dying. In his best local role to date, David Humphrey is vocally and dramatically affecting. His best moments occur in Archibald’s soliloquies, “A Bit of Earth,” “Race You to the Top of the Morning,” sung to his sleeping son, and “Where in the World.”
The show’s most rapturous moment musically might be Archibald’s duet with Neville, “Lily’s Eyes,” in which both explore their love for Lily ” Archibald’s, grieving and full of wonder that she loved him despite his deformity, and Neville’s, unrequited and full of despair.
Gilmour must be treating herself right. She looks slim and gorgeous and her vocal health is at its peak, with plenty of room on top for the musical’s climactic “Come to the Garden,” in which she convinces Archibald to return to the estate to witness miracles wrought by the determined Mary and her cohorts, played by K.B. Mercer (the housekeeper), Doren Elias (the gardener), Jon Lorenz (Dickon) and Season Duffy (Martha, Mary’s maid). Others in the large company are Nick Spear, Rebecca Spear, Lance Arthur Smith and Kerry Meads.
G. Scott Lacy and his band of musicians are exemplary, and although the vocal ensemble is ragged at times, it will no doubt congeal as time goes by. Mike Buckley’s scenic design is wondrous as lit by Nathan Peirson, and as always Jeanne Reith’s period costumes are an eyeful, especially when decorated with lilacs and roses after the garden is brought to life again. Special mention must be made of Patrick Duffy’s sound design, with special ghostly effects and never a glitch in the body mikes.
Robert Smyth once again proves himself a masterful director, and Pamela Turner’s subtle choreography adds much to viewers’ enjoyment of the lush, 2 1/2-hour piece.
“The Secret Garden” continues through March 18 at Lamb’s Players Theatre, 1142 Orange Ave., Coronado. Performances are at 7:30 p.m. Tuesday through Thursday, 8 p.m. Friday, 4 and 8 p.m. Saturday, and 2 p.m. Sunday. For tickets ($28-$48), visit www.lambsplayers.org or call (619) 437-0600.
