Tuck Everlasting

Would you want to live forever as you are? Think about losing everyone you love over decades as well as hiding in order not to be feared and ostracized. (In an update, one might easily be locked in a Pentagon lab.) Now imagine being given that choice as a curious, imaginative, over-protected 11 year-old child. In 1893.

The Tuck Family – pa, Angus (the thoroughly appealing Michael Park), ma, Mae (Carolee Carmello whose presence is warm, but whose voice is abrasive), older son, Miles (Robert Lenzi), and younger son, Jesse (a lively, sympathetic Andrew Keenan-Bolger) were homesteading 100 years ago, when they all drank from an innocuous spring and became immortal. Miles and Jesse leave home on ten- year walkabouts, but Angus and Mae stick, wary and secluded. Still, the family remains close. Life goes on. And on. But this isn’t really about the Tucks.

family

Andrew Keenan-Bolger, Robert Lenzi, Carolee Carmello, Sarah Charles Lewis

Winnie Foster (newcomer, Sarah Charles Lewis), lives with her mother (a credible Valerie Wright) and grandmother (Pippa Pearthree with a surprisingly artificial old age accent), at the edge of woods which have been owned by her family for generations. Mrs. Foster remains in widow’s weeds after almost a year and confines her restless daughter to the house. When a fair comes to town, the usually obedient child can stand it no longer and runs off to have some fun.

Crossing the forest, Winnie encounters Jesse on his way home after a lengthy absence, and sees him drink from the spring. What could be more welcome than fresh water? She moves towards it. Jesse distracts her suggesting they climb an enormous tree – perspective, of course, affecting everything. Neither has ever really had a friend.

trees

Sarah Charles Lewis, Andrew Keenan-Bolger

Set Designer Walt Spanger’s tree is comprised of what appear to be curved, undulating plywood boards hung with enormous clumps of like-colored leaves. It’s marvelous. The Foster’s Victorian door front, the Tuck’s Joseph-Cornell-meets-Louise-Nevelson home, and night stars are also terrific. Lighting Designer Kenneth Posner does an excellent job of adding magic to a production that unfortunately has little of it elsewhere.

Mae comes looking for her sons and finds Miles, whereupon Jesse drops from the tree. Before he can explain, Winnie follows. Anyone knowing about their existence is a threat. An untrustworthy child can only be more so. They throw a coat over her head and take her home. Angus is delighted they have a dinner guest. Mae is worried. Miles is furious. Jesse says “Can we keep her?”

Meanwhile, Constable Joe (Fred Applegate) and his nerdy son/deputy Hugo (Michael Wartella) search for Winnie. I don’t remember these characters from the book, but here they seem given too much stage time.

parents

Carolee Carmello and Michael Park

Jesse passes for 17, but is actually 103. There are clues in the way the Tucks react and in what they say. The story comes out. Angus and Mae soften towards the girl. Miles reveals a secret. Still, prudence dictates that Winnie, promising never to tell, will be escorted home the next day. Not. Reveling in company with whom he can share adventures, Jesse takes Winnie to the fair.

Costume Designer Gregg Barnes manifests artistic, multi-pattern thespian apparel, period clothing for towns people just fanciful enough not to distract, and perfectly conceived attire for the “Man in the Yellow Suit.” The concept of dressing the show’s EVER-present, disconnected dancers (really, one begins to want to brush them away like mosquitoes) as wood nymphs or something from a Renaissance fair, however, is a real mistake. The visual is a constant disconnect.

water tower

Andrew Keenan-Bolger, Sarah Charles Lewis

A desire to win something for Winnie provokes Jesse into volunteering to have his age guessed by the yellow-clad owner of the fair. Winnie tries unsuccessfully to warn her friend. The Man in the Yellow Suit (Terrance Mann) had been sniffing around her house asking questions about a spring and an old family. He knows. The usually entertaining Mr. Mann appears trapped in a role he now regrets. There’s little amusement in his portrayal.

The “youngsters” run off too late, are followed and overheard. The Man in the Yellow Suit has ambitions of world dominion. He’ll blackmail Winnie’s mother in exchange for a deed to the woods. Mrs. Foster, Winnie, and the Tucks have major decisions to make. Winnie’s is whether to stay with the Tucks, secretly agree to join them later, or live her life. The Tucks must decide whether to finally pull up roots. Only two of these decisions depend on The Man in the Yellow Suit.

Terrance

Terrance Mann

Sarah Charles Lewis makes a fine Winnie in her Broadway debut. The young actress embodies innocence, joy, spunk, confusion, and an accessibility that will serve her career.

Having just written a review of another new musical with lackluster songs, I regretfully feel this one is even less successful. Lyrics sound like heavy handed and/or cliché prose unwillingly submitting to music which itself arrives homogenized folk. Except for a ballet epilogue, there’s no fantasy, no purity, no poetry.

Being an otherwise tremendous fan of Director/Choreographer Casey Nicholaw, I can’t imagine what he was thinking!

Photos by Joan Marcus
Opening: Sarah Charles Lewis

Tuck Everlasting
Based on the book ‘Tuck Everlasting’ by Natalie Babbitt
Book by Claudia Shear & Tom Federle
Music by Chris Miller
Lyrics by Nathan Tysen
Directed by Casey Nicholaw
Broadhurst Theatre
235 West 44th Street

About Alix Cohen (627 Articles)
Alix Cohen is the recipient of eight New York Press Club Awards for work published on this venue. Her writing history began with poetry, segued into lyrics and took a commercial detour while holding executive positions in product development, merchandising, and design. A cultural sponge, she now turns her diverse personal and professional background to authoring pieces about culture/the arts with particular interest in artists/performers and entrepreneurs. Theater, music, art/design are lifelong areas of study and passion. She is a voting member of Drama Desk and Drama League. Alix’s professional experience in women’s fashion fuels writing in that area. Besides Woman Around Town, the journalist writes for Cabaret Scenes, Broadway World, and Theater Pizzazz. Additional pieces have been published by The New York Post, The National Observer’s Playground Magazine, Pasadena Magazine, Times Square Chronicles, and ifashionnetwork. She lives in Manhattan. Of course.