Tommy Awards panel critiques WHS Players’ Big Fish

By Tom Ganser

Correspondent

Seventeen nominations for the 2016-17 Tommy Awards have been given to the Whitewater High School Players for their Nov. 17-21, 2016, performances of the musical play, “Big Fish.”

The “Outstanding” nominations included Ensemble, Lead Performance (Mitchell Dalzin, Lauren Harkness), Supporting Performance (Gianna Creanza, Michael Hilliger, Weston Lema, Caty Strait, Remi Van Daele), Direction (Jim McCulloch), Musical Direction (Liz Elliott), Choreography (Lynn Lema), Stage Management (Calli Julson, Gwen Smith), Overall Design, Scenic Design (Jim McCulloch, Steve Smith), Lighting Design, Costume Design (Becky Hoesly, Jen Smith) and Sound Design (Savannah Boss, Tony Hanson).

Previously, the WHS Players participated in the Tommy Awards competition with their 2014 production of “The Drowsy Chaperone” and their 2015 production of “Once Upon a Mattress.”

The awards competition is named for television and Broadway star Tom Wopat.  Wopat, a Lodi native UW-Madison graduate, achieved fame because of his role as Luke Duke during the 1978-85 television series “The Dukes of Hazzard.”

The Tommy Awards program aims to encourage, recognize and honor excellence in high school musical theater.

In a gala awards show held at the Madison Overture Center, which will be on June 11 this year, school and student achievements are featured and honored.  The event is taped by Wisconsin Public Television for later broadcast.  In addition, two outstanding performers advance to The National High School Musical Theater Awards competition in New York City.

Seventy-eight high schools are competing for this year’s awards based on reviews submitted by educators and industry professionals.

Jim McCulloch, who directed “Big Fish,” appreciates the detailed 22-page summary of the critiques submitted by three reviewers for the constructive feedback.

In assessing the overall ensemble performance, singing and acting, a reviewer wrote, “The ensemble had great energy, the group appeared relaxed and natural on stage.  The group used strong characterization throughout the show and remained in character from scene to scene.  The ensemble was committed and character exchanges were focused and bold, it was clear the characters understand their role within the larger context of the musical.  The ensemble sang together well, with a smooth and consistent sound.”

The reviewer added, “The Witches and the Cheerleaders were notable sub-ensembles, with good energy and strong character choices.  The Alabama Lambs was another notable sub-ensemble with good energy.”

Turning to the lead actors, Reviewer 3 indicated Mitchell Dalzin, cast in the role of “the tale-telling Edward (Bloom), “brought a consistent energy and characterization to his portrayal.  Mitchell delivered his stories with a natural flow, owning the talks as his own even as they delved into the highly unlikely topics of witches, werewolves and giants.  Edward approached the character with a southern accent that remained consistent throughout the show.  In addition, he was the most consistent in bringing the required energy and focus to each of his scenes, always in character and reacting naturally to those around him.  He sang in tune with a usually pleasant voice the carried him throughout the show.”

“Lauren Harkness was well cast as Sandra Bloom,” a reviewer wrote. “Her stage presence was very natural and her chemistry with other characters was good, especially with Edward Bloom.  She has a strong, powerful voice.  ‘I Don’t Need a Roof’ was a beautiful and powerful number of hers.”

Henry Bresser played the role of Will Bloom.  A reviewer wrote that Bresser did a good job portraying the conflicting emotions his character has about his father’s stories, using great expressions and character choices.

“He had good chemistry with Josephine,” the reviewer wrote.

Another reviewer commented that Bresser spoke and sang with clear distinction.

Reviewers also wrote well of Colin Chenoweth.

“Young Will, who was played by Colin Chenoweth, was a great listener to the stories Edward told him, such as in ‘Fight the Dragon’,” one reviewer wrote.

“Colin had a natural line delivery in his dialogue with his father,” wrote another reviewer.

A reviewer also wrote well of the performance done by the actress who played Will’s wife and mother-to-be of Edward’s grandson.

“Gianna Creanza was charming as Josephine Bloom.  She brought an honesty to each of her scenes that really spoke effectively to the audience.  She had a lovely chemistry with Will, Edward and Sandra, and her earnest desire to have Will reconcile with his father was touching.”

Reviewer 1 described Karl the Giant, played by Michael Hilliger, as “a fun character.”

“His character developed well throughout the show,” that reviewer wrote.

Another reviewer wrote that Hilliger handled the stilts well and delivered his lines with good comic timing.

“In ‘Start Over,’ he sang with a clear bass sound that was in tune,” that reviewer wrote.

Reviewers commented positively on the choreography and dancing.

“Lynn Lema’s choreography throughout this show was wonderfully diverse, spanning a wide range of styles throughout the show.  …  Lynn employed variety that demonstrated a depth of knowledge of many styles of dancing.  The steps were designed in a way that all those participating were able to execute them effectively and precisely, looking good not matter what the step,” wrote one reviewer.

“For their part, the cast brought their most consistent energy to the dance scenes of the show, and looked to be greatly enjoying the dance numbers,” a reviewer wrote.

The students performed in a production that had depth, as was pointed out by a reviewer.

“‘Big Fish’ tackles the challenging issues of human mortality and the question we all have as we consider that topic:  what is the legacy we will leave to this world?  As Edward Bloom faces his own mortality, his son is driven to know the man behind the lifetime of tall tales,” the reviewer wrote.

“As more of Edward’s true history is uncovered, it’s made clear that many of the talks have some basis in fact.  For instance, we meet the real Karl at Edward’s funeral; while he is not the giant we have seen throughout Edward’s tales, he is a true part of Edward’s past,” the reviewer added. “The cast approached the more fantastical elements with an honesty and seriousness that helped to blur the lines between truth and tale, and really helped to express the idea that much of our truth is what we make of it.”

The reviewers also wrote positively of McCulloch.

“Director Jim McCulloch brought a unified and clear vision to life in this production of ‘Big Fish,’” a reviewer wrote.

The music also impressed the reviewers.

“The musical direction (by Liz Elliott) was well done,” wrote one reviewer.  “The musical style was appropriate and fit the theme for the show, throughout each time period and different scenes.  There was great emotion and meaning during particular numbers, such as ‘I Know What You Want’ and during ‘I Don’t Need a Roof’  There was good harmony and musicality among the group.”

The reviewers also provided feedback on several design elements of the production. A reviewer described the scenic design as very well done and that it transformed nicely throughout the show, while setting the stage for each scene.

“The decorating in front of the stage was nice and set the mood before the show began,” the reviewer wrote. “The thrown fish were a fun touch and well received by the audience.  The circus scenic design was also well done.”

In considering Jean Smith and Becky Hoesly’s costume coordination for the play, a reviewer noted, “The costume design was excellent and did a good job of portraying past and present scenes as well as showing the age differences of Edward Bloom.  Karl the Giant had a notable costume very great for his role … the circus performers had fun costumes, and the witch costumes were excellent.  The movement they offered really enhanced the scene and made for a particularly powerful number.”

Sound engineers Savannah Boss and Tony Hanson also received positive reviews, with one reviewer stating that Boss and Hanson successfully amplified the cast.

“There was a clear balance between those with personal microphones and those without,” the reviewer wrote. “The use of reverb in the cave with the giant was a good effect to show the vastness of the area.”

Gwen Smith and Calli Julson also received positive reviews for their roles as stage managers. Reviewers wrote that they had control over the environment and scene changes happened smoothly.

“Cast and crew knew where to move the set pieces and did so in an organized matter.  Cues were called effectively and it allowed for the pace of the shot to continue without a hitch,” the reviewer wrote.

Rehearsals for the WHS Players upcoming production of the comedy farce “Afraid of the Dark” are underway.  Performances are scheduled for Feb. 23 to 26 in the WHS auditorium.

 

 

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