Broadway.com
Review: ÒThe Night of the HunterÓ
September 28th, 2006
by Rob Kendt
Imagine a Southern-fried Sweeney ToddÑthatÕs what a
musical of Davis GrubbÕs creepy American Gothic novel The Night of the
Hunter might be, and what this accomplished but uneven new effort by
Claibe Richardson (music) and Stephen Cole (books and lyrics) fitfully
suggests. This gnarled tale of small-town secrets and lies has a primal
potency, some of it borrowed from a plentiful harvest of Biblical references,
but much of it flowing from the age-old Oedipal struggle between a usurping
stepfather and a suspicious son.
The interloper is a dubious preacher named Powell (Brian Noonan),
who blows into the burgh of CresapÕs Landing after a poor local man is hanged
for a robbery and murder, and all too quickly romances the dead manÕs widow,
Willa (Dee Hoty), and children, John and Pearl (Sy Adamowsky, Carly Rose
Sonenclar). John is the doubting Hamlet character, who rightly fears the worst
about Powell. ColeÕs libretto milks this tension for all itÕs worth, which is
quite a lot.
RichardsonÕs music, on the other hand, labors against the grain of
its inherent tunefulness to create a similar friction, with mixed results.
Rousing gospel hoedowns and numbers like ÒIÕm LookinÕ Ahead,Ó ÒExpect a
Miracle,Ó and ÒOne More HarvestÓÑthe anthem of the playÕs deus ex machina, a kindly
mother hen played by Beth FowlerÑare where the showÕs heart beats strongest,
and a series of plangent ballads for the kids, and a heartbreaking
wedding-night plea by Willa, make a fine counterpoint. RichardsonÕs attempts to
create menace are less bracing: Grating sing-song dissonances from a chorus of
children, or a trio of gossiping ladies, donÕt exactly make us shudder.
Nor does NoonanÕs effortful baritone quaver, which snakes through
the preacherÕs songs with an ambivalence that never registers the requisite
mortal threat; he comes off like an odd mix of Curly and Judd. And if weÕre
fighting the temptation to compare his performance to Robert MitchumÕs
somnambulant turn in the eerie 1955 film version, one of RichardsonÕs signature
choices doesnÕt help: The showÕs opening tritone motif, which recurs later in
PowellÕs rousing sermon about the ÒloveÓ and ÒhateÓ tattoos on his fist, is
lifted from Bernard HerrmannÕs score for Cape Fear, another Õ50s
potboiler lit by MitchumÕs cool simmer.
Adamowsky and Sonenclar are irresistible Depression-era innocents,
and a number of seasoned musical theater handsÑMary Stout, Gerry Vichi, Gordon
Joseph Weiss, the priceless FowlerÑmake
crucial contributions to the showÕs polish. (Allison Fischer, the tween
vamp of Lestat, has a smallish role as a wayward orphan.) Nona LloydÕs
bare-bones direction manages some small miracles with a few trunks and a
backdrop of stars, though this is clearly a show that would benefit from a more
lavish production. Before it gets the inevitable Broadway makeover, though,
this Night of the Hunter needs a little more flesh and blood on its bones.
The Night of the Hunter
Music by Claibe Richardson
Book & Lyrics by Stephen Cole
Directed by Nona Lloyd
37 Arts Theatre