To kick off its 80th summer season, The Barn Theatre in Augusta is packing the house with “fudge-sucking trolls”, as Albert Soady, patriarch and narrator of native son Jeff Daniels’ “Escanaba in Da Moonlight”, calls those of us who reside in lower Michigan.
The play is an oldie but goodie at The Barn, a pleasing fan favorite that has been produced seven times. And there is quite possibly no better theatre to put on a rousing production of the beloved homegrown show, originally produced in 1997 by the Purple Rose Theatre Company in Chelsea.
Most Michiganders are familiar with the play and its laugh-out-loud celebration of Upper Peninsula culture. But in Director Brendan Ragotzy’s capable hands, this surprisingly mystical tale as full of heart as it is shot through with farts comes to life with a talented cast that creates such brilliant and distinct characters, the audience can’t help but talk back to what’s happening on stage—a quirk that only adds to the fun.
Albert describes the monumental events as they unfold. The Soady boys, whom their pop describes as “not the sharpest tools in the shed” have descended on deer camp, just north of Escanaba, expecting to hunt, drink Leinie Red and home-brewed sap whiskey until they’re cross eyed, eat their fill of pasties, and play Euchre into the wee hours with their dear dad as well as local eccentric Jimmer Nagamanee from Menominee.
But it comes to light that Reuben, aka “The Buckless Yooper” will be the oldest Soady on record to have never bagged a buck if he doesn’t successfully shoot one this fateful season in 1989. Armed with potions and chants prescribed by his Ojibwa wife, Reuben is determined to break the curse, and he convinces the other men dressed in long underwear and flannel to drink moose testicle milkshakes, splash themselves with porcupine urine, and otherwise play along. Hilarity, of course, ensues.
Charlie King fully embodies Albert Soady and his Yooperisms and quirks, and he magnificently holds court narrating the play by speaking directly to the audience, but also shifts into lively scenes as elder Yooper. And the cast plays out those ridiculous scenarios with such commitment, we feel we know these men who make us laugh so hard tears squeeze unwittingly from our eyes. Only six actors inhabit the stage over the course of the two-hour show, but it’s a rich experience, full of lively, playful banter and inventive sight gags.
Luke Ragotzy reprises his role as Remnar and makes the most of some of the best lines in the play. He speaks longingly of “bucks big as Buicks,” women with “lips like a sturgeon,” and opening day of hunting camp as “Christmas with guns.” He’s wonderfully animated and yet never overplays his role as the driver of these scenes, and he’s a hoot, especially with his deadly serious superstitions and random acts of intermittent Catholicism.
Patrick Hunter also returns as a very funny Reuben, who is a little bit dopey and a whole lot earnest in his aim to reverse his lousy luck and change the course of family history, a plight through which we can’t help but root him on.
Mark Mumford distinguishes himself as a boyish, falsely authoritative, Dudley Do-Right-esque DNR agent originally from Detroit, which makes him the sweetest double villain ever to find himself in a homoerotic situation on stage.
Bruce Hammond plays a kooky Jimmer, who drinks like a fish and will never be the same since being abducted by aliens in their “shashepip”. He inspires big laughs with his mumbly word mash ups and spastic physical comedy, particularly with the fart gags enhanced with smoke effects.
However, no single performance can exist without the others, because the ensemble members play off each other with such gusto, improvise so effortlessly, and appear to genuinely have such a good time—it is utterly infectious.
The technical elements are crucial to the production, yet presented without fanfare, which is exactly as it should be for deer camp. Eddie Doerr refreshed Rich Haptonstall’s set to create the interior of an “Up North” cabin while also suggesting a larger great outdoors beautifully. Mike McShane’s lights help make unbelievable scenarios ring true; Nettie Fischer’s costumes practically emit a stench with their authenticity; and Bethany Edlund’s props help make all the best gags and spit takes possible.
“Escanaba in Da Moonlight” has become a time-honored tradition at The Barn, and this production is a delightful and promising start to an extraordinary anniversary season. It only runs for two weekends, so fudge-sucking trolls don’t have much time to pay homage to the Superior State and laugh themselves silly.
Escanaba in Da Moonlight
The Barn Theatre
June 11-21
barntheatreschool.org
