Before the COVID-19 pandemic, I took a lot of things for granted. When we were all stuck at home and not allowed to interact in person with each other, I quickly realized how important community is in keeping us mentally and emotionally healthy. Over the past couple of years, things have somewhat gotten back to “normal," but that sense of joy, pride, and community in the Tri-Cities was still something I missed very much.

That completely changed when I was lucky enough to be an audience member for Yes&’s inaugural production, The Music Man. I arrived early enough to hear the sound check and the orchestra warming up, and suddenly, a huge smile came across my face. I hadn’t seen a musical for years, and I realized I desperately missed the familiar sights and sounds coming from the stage. For the next two hours, I let myself go back to how I used to feel watching musical theatre live, in person. I smiled, clapped along, and experienced so much joy observing children dancing and marching around in the audience and watching the energetic movement of the cast members on stage.

The Music Man, composed and written by Meredith Wilson, is a musical classic. It can be light, happy, fluffy…almost like cotton candy. Songs such as “76 Trombones” and “Marian the Librarian” quickly become earworms, and there are so many musical theatre standards in the within it that even those who have never seen The Music Man recognize moments from the show.

There’s nothing wrong with watching a light, fluffy, classical musical. However, as a director myself, I love it when a production team and cast work on a deeper level to affect the audience in a way they don’t expect. The show is still joy-filled and fun to watch, but there are more layers available for the audience to discover, and this production of The Music Man does precisely that.

Megan Johnson is the director of this production, working with a cast of 45 actors to create the story of Music Man Harold Hill and how he changes the town of River City, Iowa. That is a challenging feat. You can tell a director has done their job well when, wherever you look at the stage during any scene, every actor is in character and contributing to the story. No one is just standing in a corner or spacing out. Everyone on that stage is invested in working as a group, and this large cast of community members succeeds at this, greatly. 

Another sign that a show has been cast and directed well is not just one or two actors stand out as “the best.” Yes, lead roles such as Harold Hill (Will Thurston) and Marian Paroo (Jill Madison) are portrayed exceptionally well. They are the two protagonists that we cheer for throughout the story. However, there are so many wonderfully portrayed parts that this particular production moves from a “star-focused” show to a beautiful ensemble production. Just a few of the fantastic portrayals in The Music Man include the fabulous School Board Members (Brett Baker, Kaleb Harshfield, Greg Levy, and Harry Pratt), the hilarious Pick-a-Little Ladies (Alanna Engler, Molly Holleran, Victoria Moses, and Trisha Snow), their fearless leader, Eulalle MacKecknie Shinn (Erin Dickey), and the teenagers of River City. Additional kudos need to be given for the portrayals of Hill’s friend Marcelius Washburn (Carver Lenz), Mayor Shinn (James Jones), Winthrop Paroo (Pierce Ruff), and Mrs. Paroo (Rebecca Francik).

One of the many aspects of this show that I admire greatly is its collaborative nature. This production truly uses the community's strengths to produce a fantastic, family-friendly event. 
The Mid-Columbia Ballet has twelve featured dancers in the production; conductor Adrienne Fletcher fabulously leads the community orchestra, and the singing is spectacular under Justin Raffa's direction. Please take a look at the online program (found at www.yesand.show) to see all the artisans from our collective Tri-Cities who came together to produce this show. The larger the show, the more challenging it is to ensure the costumes, props, set design, choreography, etc., are cohesive. The “easier” it looks, the more difficult it is, and this production of The Music Man is about as seamless as a musical theatre production can be.

Remaining performances of The Music Man are August 18, 23, 24, and 25 at the HAPO Community Stage at John Dam Plaza in Richland. Doors open at 6 PM, and the show begins at 7 PM. Audience members are encouraged to pack a picnic dinner or support one of the local restaurants by ordering take-out, coming early to find their seats, and celebrating the return of joy and community by watching Yes&’s production of The Music Man.

For additional information, including how to purchase tickets, please visit www.yesand.show

A brief history lesson before we begin:

England, 1606.
Queen Elizabeth I passed away three years earlier, and her cousin’s son, James VI of Scotland, inherited the English Crown as King James I. The country was adjusting to their new King’s quirks and beliefs, including his obsession with witches, publishing a book titled Daemonologie, and eventually commissioning a new translation of the Bible (which is still used today).

England had officially been a Protestant country under Queen Elizabeth's rule. When she died, English Catholics expected more religious tolerance under King James I. These hopes were dashed in early 1604 when, in a speech to Parliament, James I said he “detested” the Catholic faith.

Due to this, a group of Catholic conspirators organized an assassination attempt on the King, now known famously as “the Gunpowder Plot," by trying to blow up the House of Lords during the State Opening of Parliament on November 5, 1605.

*****
If this sounds remotely familiar, you have probably heard of “Guy Fawkes Day" or “Bonfire Night,” watched Dr. Who, or seen the film V for Vendetta. The failed Gunpowder Plot is a definite watershed moment in England’s history.

The playwright of Equivocation, Bill Cain, states, “It is the founding event of modern England….the story has been told for over 400 years, and the government’s version of the story has become a national myth. The only thing we know for certainty…it could not have occurred in the way the government claimed.”

His play Equivocation, Cain explains, “…offers a plausible alternative.”

This is the jumping-off point of the political thriller/drama/dark comedy two local theatre companies, the Rude Mechanicals and the Richland Players, showcase in their production of Equivocation.

*****
This co-production is the first time any theatre on this side of the state has produced Equivocation, so the title may not sound familiar. Major props need to be given for these two theatre companies to come together to tackle such a workhorse of a show. The chutzpah of the cast and crew is commendable, and if you are a fan of deep, thought-provoking political dramas such as The West Wing, The Crown, or Shakespeare’s Histories and Tragedies, then this is the show for you!

Equivocation proposes the idea of what would happen if William Shakespeare (“Shagspeare” or “Shag” in the production, confidently portrayed by J. Spyder Isaacson) were commissioned by the Prime Minister, Robert Cecil (portrayed in a deliciously villainous way by Robert Chisholm) to write the “true history” of the Gunpowder Plot. Granted, this request is from the Prime Minister of England, so Shags and his company of actors realize this request may be an attempt at a political cover-up. They are confronted with the ultimate moral and artistic dilemma. Do they speak the truth and possibly lose their heads? Do they take the money and lie? Or, is there a way to equivocate themselves through this situation and come out on top at the end?

Director Emily Sarah Richman has brought together a terrific ensemble cast of six actors portraying dozens of characters. J. Spyder Isaacson portrays Shags, Joan Kathren portrays Shags’ daughter, Judith, and the remaining four actors (Travis Franks, Deven Austin, Derik Radcliffe, and Robert Chisholm) take on the task of portraying characters such as the King’s Men (Shakespeare’s acting company), Father Henry Garnet, King James I, Sir Robert Cecil, Thomas Wintour, Robert Catesby, and the characters from Macbeth. (Sometimes, portraying multiple characters at one time, such as Deven Austin’s fantastic, comical work portraying King James I, watching Macbeth, while also playing Macduff in the production of Macbeth King James I is watching. Sounds confusing? Perhaps. But the character work and blocking/movement make it easy to follow along and is quite entertaining.)

Due to the cast being an ensemble of six and portraying multiple characters, it can sometimes get confusing to figure out who is portraying who in which scene. (This can be especially challenging for someone who is experiencing an ensemble production of this magnitude for the first time.) Watch carefully for clues the director and actors give the audience through their body language, dialects, and how the lighting and sound design help differentiate different areas of the stage as different settings in the story.

If you are familiar with Shakespeare and his work, you will find multiple “Easter Egg” moments, including some great scenes with Judith, Shag’s daughter (Joan Kathren), complaining directly to the audience about how she hates soliloquies (and plays) in general. Multiple references to Shakespeare’s work, including shout-outs to King Lear, Twelfth Night, Hamlet, and Macbeth are used throughout the play. However, if this is your first experience with anything Shakespeare-related (besides reading his work from a thick textbook in your high school English class), you will still appreciate much of the play and understand the universality of the ideas being explored.

One of the most powerful parts of the story, in my opinion, is when Shags meets Father Henry Garnet in Act II. Father Garnet (Travis Franks) is accused of lying about his knowledge of the Gunpowder Plot. The conversations between these two men are intimate, powerful, and, at times, even humorous. Shags shares his ideas for Macbeth with the Jesuit Priest and acknowledges the Porter Scene will include a nod to the priest with a joke about equivocating. (Fun fact: The Porter scene in Macbeth is also the first time a knock-knock joke was recorded.)

These moments move the plot along to the tragic conclusion, where the characters face the reality of what it means to live (and die) during King James I's reign. I encourage you to watch for “bookend moments”—moments in Act I that return in Act II to powerfully reflect on the themes of the play.

Overall, this production of Equivocation is the type of play that requires its audience to follow along closely as the dialogue is rich and concentrated, much like an Aaron Sorkin show. The show is extremely powerful and will leave you wanting to learn more about this time in England’s history and start a discussion with your fellow audience members about how this story is still (scarily) relatable in 2024.

I also want to acknowledge the fantastic work of the production team, including costumes (Morgan Ralston), set design (Will Thurston), fight choreography (Pierce Williams), and intimacy choreography (Kimberly Starr). When you attend, I encourage you to look through the show’s program to learn more about the artisans who worked hard behind the scenes.

For additional information about the show and this particular production, visit rmtheatre.org.