Anyone who considers themselves to be a theater connoisseur will be delighted watching City College’s musical production of “The Spitfire Grill.”
There was certain easiness about the show. Though it dealt with a lot of hard issues and the subject matter was often down and depressing, it also brought the Garvin Theatre alive with its awakening energy.
“The Spitfire Grill” had smooth transitions, which provided a foundation for the play. The show was paced evenly, which allowed the audience to take in its full meaning. The story unfolded in a natural way. There was no apparent timeline, which allowed for the freedom to jump from scene to scene with great fluidity.
The show took place in the sparse town of Gilead, Wisconsin. With the exception of a nice silhouetted backdrop of the town’s forest. The only piece of scenery was the cozy and rustic Grill itself. The open set allowed the audience to view all the happenings, which might be considered private in a real-life setting.
The exposed interior not only enhanced the set, it provided a reinforced peak into the lives and dramas of the characters.
From the beginning of the show it is apparent that this tiny town is about to go through a major change. This is in part due to the fact that in small towns like Gilead, everyone knows everyone else’s secrets and daily occurrences. The intimacy was well captured by the small-ensemble cast.
Dark lighting set a gloomy and somber mood from the beginning. Julie Anne Ruggieri’s performance of Percy Talbott began with a musical montage, which transported Talbott from prison to Gilead. Her attire added to the illusion of her time in prison. As she strips her prison garb off, a softer side of Talbott is shown. This scene particularly exemplifies one of many smooth transitions.
Ruggieri’s powerful performance fully captured the hard nosed Talbott. Her voice had great charisma and strength. Yet in times of Percy’s weakness, Ruggieri was also able to softly capture the character’s tender side.
Even though Talbott’s character drove the plot, the entire cast played leading roles. As a whole, the ensemble of actors supported the show and complemented each other’s performances.
David Potter’s musical direction was definitely a highlight of the show. Down in the orchestra pit, all the musicians had smiles on their faces and genuinely seemed to be having fun. I imagine this is because “The Spitfire Grill” was not your typical musical, with grand showy musical numbers where all the townsfolk gather to dance and sing in unison.
The music in the show was bluesy Appalachian-influenced folk sound, colored with fiddles and an accordion. It never upstaged the actors, it set the mood, and didn’t draw attention away from the on stage happenings.
This was director Rick Mokler’s forty-third production, and his experience spoke for itself. Every actor performed and moved with purpose and motivation.
If you’re not a fan of big dance numbers or overly festive songs, the “The Spitfire Grill” is the musical for you. The emotions are real, the music is earthy, and the small cast of talented actors, will definitely resonate in the audience’s memory, and the Garvin for a long time to come.