🎭 Perfection on the Heather | "Brigadoon" @ Pasadena Playhouse

[cahwyguy]

This has been the spring for classic musicals in Los Angeles. First, we had the wonderful revisical version of Flower Drum Song from East West Players, which premiered on Broadway in 1958 (and whose source book author, CY Lee, is actually remembered on the walls of the Pasadena Playhouse). Then we had the excellent touring production of The Sound Of Music, which was brought to the heights by the performances of its leads, Cayleigh Capaldi as Maria and Kevin Earley as Captain Von Trapp. The Sound of Music premiered on Broadway in 1959. The trio concluded this week with the lightly revised revival of Brigadoon at the Pasadena Playhouse, which we saw last night. Brigadoon premiered on Broadway way back in 1947. I had forgotten what a joy Brigadoon is; I truly believe the Pasadena Playhouse version is worthy of a Broadway transfer. Brigadoon hasn’t been on Broadway since 1980, and this updated version brings and updated energy and sensibility to the show, combined with the luscious score. In this era of continuous revivals of seemingly the same recent shows, this could be a breath of fresh Scottish air.

In seeing this show, I was trying to remember the last time I saw Brigadoon. I thought it might have been at the old LA Civic Light Opera, but they last did the show in 1954 (which was before I was born). Perhaps it was in the Cabrillo Music Theatre days (now 5-Star), but then I would have a program. Perhaps I only thought I had seen it, and was conflating it with the movie version with Gene Kelly and Van Johnson, which I’ve seen many times. That’s a distinct possibility, as I didn’t remember some of the songs (and those are the songs that were cut in the movie). But it turns out I have seen Brigadoon before on the stage: a December 1981 production of the Al Malaikah Shrine at the Shrine Theatre, with Genevieve Marie Sordetto as Fiona and Brad M. Arrington as Tommy Albright.  I must have gone with my parents (who were avid theatregoers), as I was still a college undergrad at the time, and my dad was a member of that Shrine club. I also, surprisingly, only had one version of Brigadoon in my music library: the 1991 Studio Cast. A good version, but one is not enough. That was remedied this morning (I added the 2017 NY City Center revival).

The reason for the above reminiscing is to demonstrate that, like many I’m sure, I knew of Brigadoon, but I didn’t remember it well. I think we all remember the outlines of the story: Two NYC hunters (Tommy and Jeff) on vacation in Scotland discover an enchanted village that reappears for one day every one hundred years. One of the hunters falls in love with a local lass (Fiona). There’s a wedding, and the suitor that wasn’t selected (Harry) attempts to leave the village, which would destroy it. He is stopped and dies in the process. The hunter in love wants to stay with the village, but his friend convinces him to leave. Back in NYC, he’s unhappy, so he returns to Scotland and loves the girl so much that the village reappears and takes him in. Along the way, there’s lot of dancing and singing, including the standard “Almost Like Being In Love”.

Those are the main story notes. But (unsurprisingly, as the original was written in the late 1940s), the original story had dated elements. It reflected an American stereotypical view of Scotland. It showed Scottish women with no agency (a very 1940s view), which was not the reality. The presentation of the two American friends was dated. The show wasn’t as problematic as Flower Drum Song, but it needed updating. If you’re not familiar with the original details of the show, Wikipedia has a good summary of the plot. If you’re only familiar with the movie, you can see the movie excised even more story, notably the sub-story of Meg Brockie. They also changed how Jeff killed Harry Beaton. The movie was clearly not the basis for a good revival: the movie was more a piece to show off its stars, Gene Kelly and Cyd Charisse.

For the Pasadena Playhouse version, Alexandra Silber adapted and updated the story. Here are the changes I could detect. She changed Meg Brockie from a simple milkmaid to an independent woman who operated a pub (which became the center for much of the action in the story). She might have been a widow, which would explain the ownership. They also made Meg much more sexually forward and lusty than would have been acceptable in the 1940s or 1950s. She changed the town leader, Mr. Lundie, into the Widow Lundie. This might have been done to fit the casting of Tyne Daly, but it also fits with the power of Widows in Scottish society. She changed the manner of death of Harry. In the 1940s original, as Wikipedia notes “Jeff also reveals that he tripped Harry and accidentally killed him.”. In the movie, again according to Wikipedia, “With men closing in on him, Harry climbs up a tree to hide but is accidentally gunned down by Jeff, who skipped the wedding to go hunting. Harry falls dead to the ground and is soon found by the men.” In this version, however, Jeff is not responsible for Harry’s death. As Harry nears the edge of town, they lock eyes. Harry seems to decide he can’t cause the town’s destruction, and so throws himself off the bridge instead.

There are also significant changes made in the penultimate scenes. In the original, according to Wikipedia, “Four months later, Jeff is drinking heavily at a hotel bar in New York. Tommy, who has been living on a farm in New Hampshire, enters and greets Jeff, but is still in love with Fiona and cannot stop thinking about her. His fiancée Jane Ashton, a beautiful socialite, talks to him about their impending wedding, but everything she says causes him to hear Fiona’s voice and dream of Brigadoon (“Come to Me, Bend to Me” (reprise) and “Heather on the Hill” (reprise)). Tommy tells Jane that he cannot marry her, and she argues with him, but he continues to daydream about his true love (“Go Home With Bonnie Jean” (reprise) and “From This Day On” (reprise)). Jane leaves, and Tommy tells Jeff that he wants to return to Scotland, although he knows the village will not be there.”

In this updated version, Silber turns it around: Tommy is so much in love he can’t get over it and has turned to drinking. Recent promotions mean nothing to him, and there is no fiancée. Everything the barkeep says (played by the same actor that played Widow Lundie) makes him think of Fiona and Brigadoon. Jeff, now sober, returns and convinces Tommy he was wrong. There can be such a love, and he had it with his wife who died (presumably of cancer). It is Jeff who tells Tommy he must go back to Scotland, and provides him with the tickets.

I found that the updated story worked well, and fit the beats I remembered. The revisions were suitably gentle and nudged the story into something that worked better for modern audiences. There are still some aspects that feel dated—in particular, the heavier emphasis on dance and ballet that one doesn’t see in modern shows—but they are tolerable. It is quite possible that the Agnes DeMille dances are contractually required (similar to the dream sequences in Oklahoma or The King and I).

The performances were top-notch. In the leading positions were Betsy Morgan as Fiona Mac Laren, Max Von Essen as Tommy Albright, and Happy Anderson as Jeff Douglas. Morgan brought a wonderful life and vivaciousness to Fiona; one could easily see why Tommy fell in love with her. She also had a spectacular singing voice. Von Essen was a great leading man, with a relatable stage presence, a great singing voice, and most notably, spectacular chemistry with Morgan. Anderson transformed Jeff from a handsome friends to a more lovable doofus. Anderson provided some wonderful comic relief through the show.

As the couple getting married, Kylie Victoria Edwards (Jean Mac Laren) and Daniel Yearwood (Charlie Dalrymple) were great. I particularly enjoyed Yearwood: he had a wonderful voice and was fun to watch on stage.

The simple milkmaid, Meg Brockie, was transformed in this version to a tavern owner, vivacious and fully of life and happiness. She was played by Donna Vivino with a strength of voice and personality that was great. Although it wasn’t listed in her credits, I could swear that Vivino is a local. I think I’ve seen her (and her daughters) playing multiple roles out at Cabrillo/5-Star.

The matriarch of the town, Widow Lundie, was played by Tyne Daly. This was a coup getting her for this role, as she brought a wonderful gravitas to the character. Alas, you could see by how she was moving on stage that she is getting frailer than she once was. Still, she is a theatrical powerhouse and it is always a delight to see her on stage. I particularly liked her turn as Frankie, the barkeep.

Also notable was Jessica Lee Keller as Maggie Anderson. She was hidden during much of the production, but had a spectacular dance turn during the funeral scene.

Lastly, I’d like to call out the ensemble and cast members who were playing instruments on stage. They aren’t explicitly identified in the program, unless they had some of the musicians don costumes and come on stage. So to the unspecified fiddle, bodhran, bass, piccolo, and bagpipe players: your presence in the tavern scenes added a wonderful authenticity to those scenes, and brought back memories of shows such as Once or Come From Away, both of which have elements like that.

I am delighted to note that the scenic aspects of the show were achieved without the use of a single glitter cannon or a single projection. There was wonderful traditional scenery: bridges, taverns, villages; the Pasadena Playhouse provides sufficient fly space that they were able to use a lot of “fly in” scenery. Costumes were suitably Scottish; Jeff and Tommy had their costumes updated to modern times (including modern backpacks and water bottles, and I think I even spotted a cell phone).

Were there any negatives? Perhaps one minor one: There were four stage lights at the top of the proscenium that were very bluish-white (distractingly so). They were fine when they were tuned to other colors, so they just need to be toned down a bit.

Other than the horrid (to us) Ha Ha Ha Ha Ha Ha earlier this year, the Pasadena Playhouse has been hitting it out of the park this season. Their next season looks to be equally strong. We’ve already renewed our membership, and we look forward to scheduling our shows for the next season. This production of Brigadoon is yet another example of the quality work from the Playhouse. Folks should get over to the Playhouse to see it and be reminded how the classic musicals still hold up. It runs until June 14, 2026. Tickets are available through the Playhouse Website.

Credits

Lerner & Loewe’s Brigadoon. A new adaptation by Alexandra Silber, inspired by the original book by Alan Jay Lerner. Book and Lyrics by Alan Jay Lerner. Music by Frederick Loewe. Original dances created by Agnes DeMille. Directed and choreographed by Katie Spelman.

Cast (^æ indicates members of Actors Equity): Happy Anderson^æ Jeff Douglas; Brian Calì^æ Ensemble / Angus; Amanda Clement^æ Ensemble, Dance Captain; Tyne Daly^æ Widow Lundie; Sophie Liu David^æ Ensemble; Kylie Victoria Edwards^æ Jean MacLaren; Michael Scott Harris^æ Archie Beaton; Jessica Lee Kellar^æ Maggie Anderson; Evan Kinnane^æ Ensemble; Julia Wheeler Lennon^æ Ensemble; Brian Kim McCormick^æ Ensemble / Stuart; Spencer Davis Milford^æ Harry Beaton; Betsy Morgan^æ Fiona MacLaren; Gabriel Navarro^æ Ensemble; Chuck Saculla^æ Ensemble / Sandy Dean; Amy Smith^æ Ensemble; Gil Sweeney Ensemble / Swing; Donna Vivino^æ Meg Brockie; Max Von Essen^æ Tommy Albright; Daniel Yearwood^æ Charlie Dalrymple; Geoffrey Wade^æ Andrew MacLaren.

Music Department: Darryl Archibald Music Supervisor; Brad Gardner Music Director / Conductor; Gennie Cheng Assoc Music Director / Piano; Bethany Mennemeyer Concertmaster, Rhea Fowler, Nichole Garcia, and Nolan Livesay Violin; Rodney Wirtz and Bryan Gonzalez Viola; Ginger Murphy and Chris Ahn Cello; David Hughes Bass; Rachel Mellis Flute, Piccolo; Victoria Sabonjohn Oboe; Laura Stoutenborough and Adrienne Murray Clarinet; Lieza Kallin Bassoon; Jared Haworth and Elizabeth Donahue Bagpipes; Lisa McCormick French Horn; Tim Rubottom, Barbara Laronga, and Justin Drisdelle Trumpet; Devon Taylor Trombone; Nick Stone Percussion; Eric Heinly Orchestra Contractor.

Production and Creative (^æ indicates members of Actors Equity): Alan Jay Lerner Lyrics, Book; Frederick Loewe Music; Alexandra Silber Playwright; Katie Spelman Director, Choreographer; Jason Sherwood Scenic Designer; Raquel Adorno Costume Designer; Jaymi Smith Lighting Designer; Danny Erdberg Sound Designer; Ursula Kwong-Brown Sound Designer; Alberto “Albee” Alvarado Wig, Hair, and Makeup Design; Ryan Bernard-Tymensky Casting; Jill Gold^æ Production Stage Manager; Lauren Buangan^æ Asst Stage Manager; Miriam Mendoza^æ Asst Stage Manager; Gaby Ostrove^æ Asst Stage Manager.

Administrivia

I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; BIH/Pantages; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.

Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania.

I used to do more detailed writeups; here’s my current approach.

There were some interesting theatre and theatre-related announcements recently. First, the Pasadena Playhouse announced their 2026-2027 season. It’s pretty spectacular. The season begins with a new production of Friedrich Dürrenmatt’s tragicomedy The Visit, directed by Tony Award winner Darko Tresnjak and starring Jefferson Mays. The Visit was later turned into a musical by Fred Kander and John Ebb; but this is the play version. Next up is the long-awaited L.A. premiere of Passing Strange, the Tony-winning musical based on the life of L.A.-born musician Stew, directed by Tony nominee Zhailon Levingston. Passing Strange never toured after winning the 2009 Tony, so this is its LA debut. There is then a TBA winter production (hopefully better than last year’s Ha Ha Ha Ha Ha Ha, which was horrible). That is followed by Real Women Have Curves: The Musical, the musical version of the play we saw two weeks ago. This was on Broadway but did poorly and thus never toured; it is its LA premiere. Lastly, a revival of Tennessee Williams’ Pulitzer Prize-winning play Cat on a Hot Tin Roof, with Alfred Molina. We’ve already renewed our membership.

Also announcing last week was the Soraya, previously known as the Valley Performing Arts Center on the campus of Cal State Northridge. Can’t you just hear Vin Sculley saying “Isn’t it beautiful”. They have announced their 2026-2027 season. There is loads of good stuff this season. Notable for theatre folks is the opening show, Sutton Foster; in April, Audra McDonald will grace the stage. Along the way, there are shows such as Snarky Puppy with the CSUN “A” Jazz Band, Branford Marsalis and Dianne Reeves celebrating John Coltraine; a tribute to Gershwin and the Golden Age with the LA Jewish Symphony; the Dance Theatre of Harlem; Terence Blanchard and Ravi Coltraine; A tribute to Frank Sinatra with the Clayton-Hamilton Jazz Orchestra; the Emmet Cohen Trio; and much more. Music of all varieties, jazz, dance, pop, classical, and loads more. Those are just the shows we’re interested in. Memberships are also on sale.

Lastly, May saw the opening of ticket sales for the Hollywood Fringe Festival. There are over 2,150 performances; there are 439 shows listed in the show catalog. These all occur during the month of June, with multiple shows throughout the day. 20 minutes to move in; then the show; 20 minutes to move out. Ticket prices are low. The shows run the gamut, from totally strange to one person shows to full on short plays to musical reviews. You’re sure to find something you’ll like.

Upcoming

Key: ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending).

• May: ♣ Bugs Bunny at the Symphony at St. Louis Symphony; ♦ Fat Ham at Black Reperatory Theatre (St. Louis); ♦ Hells Kitchen at BIH/Pantages.
• June: ♦ Ain’t Misbehavin’ at Ebony Rep; ♦ Elegies at Chromolume; ♦ Primary Trust at CTG/Taper; ♦ Mamma Mia at CTG/Ahmanson.
• July: ♦ Mexodus at Pasadena Playhouse; ♦ The Wizard of Oz at 5-Star Theatricals; ♦ If/Then at Chromolume Theatre.
• August: ♦ Beauty and the Beast at BIH/Pantages;
• September: ♦ Water for Elephants at BIH/Pantages; ♦⊕ The Visit at Pasadena Playhouse; ♦ The Turning at Taper/CTG; ♣⊕ Sutton Foster at The Soraya; ♦⊕ Catch Me If You Can at The Colony Theatre; ♦⊕Every Brilliant Thing at The Main

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