By Carol Davis
LA JOLLA, California— While the La Jolla Playhouses Sleeping Beauty, Rose (Aspen Vincent), of the fairy tale of the same name, flutters her eyelids in an attempt to awaken (in a sleeping disorder clinic) after a nine hundred year slumber yours truly had everything she could do to keep her eyes from fluttering off into Rose’s land of dreams.
Bringing the fairy tale princess into a 21st century sleep disorder clinic by her troubled father, who claims to be a king (Bob Stillman), to see if there are any new methods to awaken his daughter and at the same time keeping the integrity of the original story has its plusses and minuses; some colorful, some laughable, some superfluous, some compelling and some not, but the bottom line is that the story is at odds with itself and it gets tedious after a while.
This, the latest incarnation of Sleeping Beauty is by Rachel Sheinkin (book), Brendan Milburn (music) and Valerie Vigoda (lyrics). The play is a co-production with Princeton’s McCarter Center and has already been given one extension at the Playhouse. Vigoda and Milburn both members of GrooveLily also collaborated on Long Story Short (seen a few years back at the SD Rep) and Striking 12.
Updating the classic Grimm Brothers fable can be tricky. Once the beautiful, witty and talented princess who by no choice of her own but by a wicked fairy’s curse, is thrown into a deep sleep for one hundred years, the creators must find a path for her to enter the now world. That she finds this new world troublesome to navigate is an understatement. “I don’t understand half the words you say,” she tells the doctor. And that’s just the tip of the iceberg.
As the musical opens to utter chaos in the reception area of the clinic, Mr. King, carries a lifeless form in his arms dressed in a bright red gown, (Miranda Hoffman) and begs the doctor to find a cure for his princess daughter. As a backdrop in the story, four very weary and sleepless clients beg the good doctor (Kecia Lewis-Evans) to find a cure for their sleep walking (Steve Judkins), apnea (Jimmy Ray Bennett), restless leg syndrome (Adinah Alexander) and just fear of falling asleep (Carrie Manolakos) and weave their way into Rose’s dreams.
Now back in the once upon a time day when his little girl fell under the curse, he traded everything in his magical kingdom for unending life so he could keep his daughter safe for the rest of her life or until she awakens. He has tried every cure available including her being kissed by more frogs that he can count. This is his last effort and he is exhausted, and even though he knows that when she awakens it will be exit time for him, he must let her fly.
In one of the more laughable exchanges, the doctor tells the king that his insurance probably wouldn’t cover what Rose has. He proceeds to pull out a bankroll of bills that she instantly takes and signs Rose up for some trial tests that include wearing some wired head gear that records sleep patterns on a chart placed above the hospital beds. (Riccardo Hernandez, scenic designer and Peter Nigrini, projections)
Helping the doctor with the patients and the testing (in exchange for his own therapy) is the hospital orderly, Mike, aka the would be Prince (Bryce Ryness) who awakens the Princess. But this Prince (no, he’s not a frog) has his own mess of sleep related problems including narcolepsy and cataplexy to work on as well. Every time he feels an emotion like being happy, he falls to the floor unconscious. So instead of a Prince in shining armor coming to rescue the beautiful princess, a clumsy but smitten boy tries to help her.
Sleeping Beauty Wakes directed by Rebecca Taichman tackles the big task of bringing out the good, the bad and the wicked and still having the story palatable and flowing seamlessly. No easy task, this. There are still some bumpy roads ahead.
The musical is more fun when everyone in the clinic seems to be on Rose’s dream wavelengths sharing a common once upon a time dream where all maladies disappear and everything is right with the world. However, when modernity and ancient history meet and Rose is caught in the crossfire or haze between sleeping and waking, mayhem and confusion reign for the princess.
Brendan Milburn’s musical score under the musical direction of James Sampliner does nothing to calm the savage nerves of the patients or to this audience member. Vigoda’s lyrics, while clever, were for the most part drowned out from the pit the night I attended.
Bryce Ryness and Bob Stillman both standouts in the voice department also deserve high marks in the credibility and likeability department. Both carry the show in their own way, but Ryness as Prince Charming has his own set of problems to sort out before he can save anyone.
As the father figure, Stillman is deep, quiet and more sympathetic a character since his dilemma is the most plausible. Every parent in the house can identify with his struggles (to hold on and let go) in one way or another. Both Vigoda and Milburn hit pay dirt with “I Think I Understand”, “The Wheel Goes Round” and “Still Small Hours”.
Aspen Vincent is less plausible as Rose both awake and/or sleeping. I never felt connected to or felt compassion for her plight even though I wanted to. Unfortunately her voice is piercing and tough getting used to. Kecia Lewis-Evans has some clever lines as the disgruntled, understaffed, underfunded and misunderstood doctor who would rather be doing research than tending sleeping disorders.
She is also a hoot as the bad fairy. She has some pretty strong vocal chords and is a kick with her scissor looking nails, but I couldn’t figure out why she was always hunched over looking almost cartoon like as she walks back and fourth across the stage.
Strong support comes in the way of Doug Varone’s choreography, Christopher Akerlind’s lighting, Riccardo Hernandez’ sterile hospital looking furniture and Miranda Hoffman’s stand out red ruffled gown.
Sleeping Beauty Wakes still feels like a work in progress. Some tweaking here and there and more three-dimensional characters would prove to be a plus. That said, like every fairy tale, “When you wish upon a star…”
See you at the theatre.
Dates: through Aug. 28th
Organization: La Jolla Playhouse
Phone: 858-550-1010
Production Type: Musical Comedy
Where: 2910 La Jolla Village Drive, UCSD Campus
Ticket Prices: $47.00-$85.00
Web: lajollaplayhouse.org
Venue: Mandell Weiss Theatre