Marina Nebro: Arts and Culture

Once Upon A Time-ish

There was no moment throughout the entire production of Unlock’d at the Duke on 42nd Street that I wasn’t smiling. Whether it was the beautiful music, the colorful costumes, the creative set, the excited musicians, the funny story, or the cute fairytale, it was impossible to wipe a grin off of my face! The audience was equally as giddy with happiness, as the actors danced, walked, and tally-ho’d across the set. The Prospect Theatre Company and writers Sam Carner and Derek Gregor could not have picked a better cast, a better story, a better venue, or a better anything! I literally have no bad words to say about my musical experience last night.

Once upon a time-ish, as all classic fairytales begin, there were two step-sisters. But this is no classic. Why not? There is no cruelty! Both girls are so kind to each other, even when they don’t see eye to eye with their drastically different personalities. Belinda (Jillian Gottlieb) is the most beautiful, albeit ditzy, girl “across the pond-ish” because of her beautiful golden locks, her pride and joy. Her favorite curl is named Beatrice (voice of Emily Rogers), identified by the pink bow that is tied around her. Clarissa (Jennifer Blood) is jealous of her gorgeous sister Belinda because she is always overshadowed by the blonde-bombshell. Her aim through the entire play is to marry Belinda off, so that the shadow might be lifted from her auburn hair-covered shoulders.

Of all the possible suitors, it is Roderick Shearing, the Baron Windsorloch (Sydney James Harcourt) that would be her best choice. He has the money, the status, and the looks! Really, we sat so close I could squeeze his round behind underneath those tight white-washed skinny jeans… if I dared! He pines over her, hoping to be honored with a lock of her hair. His brother, Edwin Shearing (A.J. Shively) can’t believe how silly the Baron is being – a warrior reduced to a “delicate thing!” Edwin doesn’t understand what’s so amazing about women anyway, as he’s always surrounded by books in the various libraries he visits.

On to Hampton Court! All of our main characters come to rendezvous at the beautiful palace at Hampton Court. Joining them are a bunch of silly aristocratic men and women, pining over each other and the heartthrobs of the day – Belinda and the Baron. Edwin retreats to the library, Belinda flirts with all of the men, the Baron tries to catch a minute alone with Belinda, and Clarissa is left to wonder where she fits in. At one point, Edwin, Clarissa, and the Baron are all attempting to grasp at Belinda’s luscious waves, and they work together for the greater cause.

But there are some other special characters that join us on our fantastical journey through the mazes at Hampton: the sylphs (Avia – Catherine LeFrere, Esther – Maria Couch, and Ariella – Chandler Reeves) and the gnomes (Umbriel – Chris Gunn, Caleb – Adam Daveline, and Barney – Hansel Tan)! It wouldn’t be a fairytale without any magical creatures, now, would it? The sylphs want Belinda, with her beautiful hair, to become their Queen, and so it is their mission to prevent anyone from cutting off precious Beatrice (remember, the golden lock tied in a pink bow). The gnomes, on the other hand, like to be mischievous and rile up their sylph counterparts, so their goal is to aid the Baron in any way they can!

It also wouldn’t be a fairytale without a love story. Now, what do you think about NINE happily-ever-afters? I think I would consider that a successful night’s work! After several misunderstandings, arguments, and even some scuffles, all couples kiss and make up: Belinda and Edwin (who would have guessed!), the Baron and Clarissa, Avia and Umbriel, Esther and Caleb, Ariella and Barney, the three couples of aristocrats, and the maid (Emily Rogers) and the gardener (Lukas Poost)!

What made a simple, silly fairytale so awesome???

Let’s start with the music. Not only were the musicians totally visible from where I was sitting, but they were also so enthusiastic about their performance! When looking at the pit, I couldn’t take my eyes off of conductor/pianist Adam Wachter. After however many performances he had done, he was still enjoying the music and the production, and I could see him still laughing at the jokes he heard months ago! The melodies were catchy and beautiful, and the voices complimented the compositions so well, especially during the harmonies! I would also like to commend the beautiful voices of absolutely everyone in the cast! The standout, of course, was Jillian Gottlieb (who played the beautiful Belinda). I don’t think I’ve ever witnessed an opera singer (her credits include Das Rheingold at the Metropolitan Opera) in a musical theatre setting at the professional level. In her first song, “The Hair Song,” she really lets out her operatic-soprano self! The vibrato, the strength… it was amazing!

Click here to listen to some of the great songs from the show!

Costumes, costumes, and more costumes! The dresses worn by the two sisters and the aristocratic ladies were modern adaptations of Rococo fashion. They reminded me so much of my fashion designs for Much Ado About Nothing in my Introduction to Theatre Design course. The large ball gowns had short under-skirts, similar to the current high-low dress/skirt style. Instead of wearing tights, the men wore skinny jeans with various patterns – floral, stripes, and bright colors. Though I loved the historical interpretation, my favorite costumes were those of the gnomes! All raggedy, torn, oversized, and dirty, the gnomes were absolutely adorable in their stretched, knit leg warmers and crazy dread-locked, frizzy hair. And speaking of hair: the pride and joy of the entire story! The wigs were stupendous. Whether they were beautiful and realistic, such as the hair on Belinda and Clarissa, or silly and goofy like on the aristocrats, Leah J. Loukas (wig design) totally pulled it off.

The Duke at 42nd Street is such a quaint little theatre, and the set designer, Wilson Chin, did an amazing job utilizing the small space. The theatre seating was in the round, or at least was on three sides of the circle stage (the orchestra was in the back). There was no traditional raised stage, but instead, just the floor with a demarcation of grassy ground at Hampton Court. Chin was not worried about realistic looking props and sets. The topiaries were simply green, wooden benches and pedestals. The floor didn’t even look grassy, but was just green and given the illusion of some sort of stone design. Hampton Court was only a large panoramic image hung above the back of the theatre, above the pit orchestra. There was no need for grandiosity. The set gave the play such an intimate feel, and made it feel as if we were actually taking part of the fairytale! I think that’s what my favorite part was. My dream is to go back in time, to a world filled with magic and mystery. Based on Alexander Pope’s “mock-heroic, narrative poem” entitled The Rape of the Lock, I think Unlock’d is the closest I have come!

Unlock’d
The Duke on 42nd Street
July 17, 2013

Marina B. Nebro