The Catskill Chronicle

Review by J. A. Di Bello, photos by Jeff Knapp

ELLENVILLE, NY (August 10, 2015) – From the Red Wood Forest to the towpath of the D & H, the American Song was made for you and me. Never has this adjusted lyric been more clearly defined than at the Shadowland Theatre’s opening-night performance of Woody Guthrie’s American Song. On a clever and inspirationally designed stage, multi-talented actors/musicians displayed their perfected craft.

The established practiced at Ellenville’s Shadowland is to schedule opening-night events on Friday. It’s well known, Friday is payday in a workin’ man’s town and as any “Union Maid” will confess, a good time is attached to the union label. Fully aware, Shadowland’s vivid and stimulating production of Woody Guthrie’s American Song, opened here Friday night August 7^th.

Expectations: fully realized! This show’s a fun-filled, rockin’, good ol’, foot-stompin’, ass-kickin’ biomusical, presented as an intriguing narrative of an oft imitated American musical legend. As a patriot, advocate for the common man and union champion, the truth is soon evident: Woody Guthrie was a most Uncommon Man.

Woody was a prolific and profound writer, lyricist and a genuine advocate for the common man: the men and women who labored in the factories, mines and fields of this country through darkest days of the Depression, and the frequently uncertain days of the Second World War (WWII).

Scenic Designer Bill Lelbach has created an intriguing, attractive set constructed of weathered, mistreated, sun bleached and stained barn siding. It serves as a visual metaphor reflecting the drama’s thematic elements. Further and in conjunction with the barn siding, he flies a make-shift projection screen up-stage and over the production’s main action. Constructed of what appears to be weather beaten wide-board fencing the “screen” serves as a vehicle to display vivid, archival photographic images of depression era hardships and the depravation encountered by America’s largely Caucasian migrant laborers. Although nearly upstaging the main action, the overall result is to visually reinforce and amplify the action or scene in play, a clever and artfully designed utilization of material.

Costume Designer Barbara Kahl was in her glory. For the First Young Man, the Second Young Man and the Man, Ian Brodsky, Sean Powell and Craig MacDonald respectivley, dress was quite utilitarian, practical and period appropriate. Costume for characters Woman and Young Woman, Jennie Malone and Kendra Jo Brook, displayed creativity and an accurate reflection of depression era realities. Stockings with a seam, dresses with three and four inch hems, these were hand-me-down clothes, ready for alteration to accommodate the next fortunate bearer. Minus a funky, store-bought hat the two multi-talented women in costume could easily accompany Minnie Pearl for a Saturday night encore at the Ryman.

One neat little thing about sound management in a musical is the extra bites used to add “color” to identified scenes. It is, no doubt, an idiosyncratic characteristic of this writer, but the sound of rolling stock on the railroad is an appealing and comforting sound. Its melodious repetition of “Clickety clack, Clickety clack” sensually represents scenes depicting the perils and benefits of riding the rails. Jeff Knapp, as Sound Designer, has placed these sound bites in their most meaningful and thoughtful locations.

Chris Blisset, Director and Musical Director, has a full and demonstrated comprehension of the musical as a narrative. It’s there to tell a story and a simplistic concert presentation will do nothing to further the purpose of this production. The audience must be involved and participate in a significant way. Encouraging and establishing a sing-along, clap-your-hands approach is effective and lends itself well to the folk music genre. Further, as the Second Young Man’s hat is kicked into the audience, stage right, the wall that separates is further collapsed and a union created (no pun intended).

Jennie Malone and Kendra Jo Brook expressively and colorfully portray the Woman and Young Woman respectively. Each is a well-chosen and talented actor/musician, vocally able to convey that soulful tone that so frequently characterizes musical laments. In addition to an ability to support the main character, Woody Guthrie, in his various forms of presentation, each is a master of several instruments, guitar, and mandolin, accordion and with Kendra on the zither.

Ian Brodsky, Sean Powell and Craig MacDonald, with striking clarity bring life and song to the characters of First Young Man, Second Young Man and Man. As quality showmen, each demonstrates a unique ability to hold the stage in a memorable and conspicuous manner. Their individual and combined abilities deliver the various and spirited phases of Guthrie’s life.

Each chapter in Woody’s life shows him develop as the prolific, memorable writer he became, a song in every pocket, just waiting for someone to ask. Guthrie is portrayed as champion for the common man. An advocate for social causes frequently associated with the communist party as it existed in this country during the formative days of unionization. He never joined the party, as he was too diversified to become associated with a unified cause. As a patriot, Woody Guthrie’s truculent, pro-war stance was sparked by the Second World War (WWII), as demonstrated by attaching an identification sign to his guitar, “This Machine Kills Fascists.” He served in the US Army and as a Merchant Seaman was an active participant in the Allied invasion of Europe, June 6, 1944.

This timely production at the Shadowland is a much needed reminder of the multi- talented individual who wrote the music and lyrics for and about the common man, the factory worker, the sailor and the American G. I. His music was, after his death in 1967, adopted by several of the popular balladeers soon to be associated with the folk music era of the 60s. Most may also recall the Woody Guthrie wannbes who opened his music, altered his cause and rode the wave of least resistance. Understandably, Woody’s advocacy of union and social causes was resisted and largely unpopular in capitalistic environments. But, as one of the mentioned balladeers wrote, “… the times they are a-changin’.” And so the once popular and cherished union causes have been assumed by the government. Note OSHA requirements, minimum wage, and medical benefits, etc. Yes, Woody Guthrie, ahead of his time, champion of the American worker was a Most Uncommon Man.

The Shadowland Theatre in Ellenville will present Woody Guthrie’s American Song through August 30. Tickets for this entertaining, energetic and historically pertinent biomusical are available online at http://www.shadowlandtheatre.org or through the box office 845-647-5511.