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Big River

American Airlines Theatre
227 West 42nd Street
New York
212-719-9393

Reviewed July 25, 2003
based on a press preview on July 19
Running time 2 hours 40 minutes
Price range: $26 - $91
July 24 - September 21, 2003


Something special happened on Broadway last night, something more than just the opening of a new production of a bright, charming and tuneful musical - as special as that is in itself. No, the opening of the joint Roundabout Theatre/Deaf West Theatre revival of the late composer Roger Miller’s only musical was special because this superbly enjoyable romp adds an element to the vocabulary of musical theater never used before and it uses it well. Never before has a musical used American Sign Language as an integral element in a production. Here director and choreographer Jeff Calhoun has incorporated sign language so well, so effectively and so charmingly that it enhances the experience of those in the audience who can hear, while opening up the magic of the musical to those who can’t. Neither group is witnessing a performance designed for the other, both groups are enjoying equal access to a performance designed for both and both benefit from a unique kind of visual music.


Storyline: Mark Twain’s tale of Huckleberry Finn is set along the Mississippi River in the days when it was the key avenue of commerce between the reach of slavery and the free states of the north. Huck embarks on a raft trip down the river with runaway slave Jim and is soon joined by a pair of charlatans who run scams among the river towns. His friendship with Jim sorely tests his acceptance of the concepts of slavery and the inferiority of one race of men as compared to another.

The musical won the Tony Award for best new musical and for best score when it premiered in 1985. This version uses a cast of a dozen performers who speak and sing their own lines while also signing them, and a dozen who sign theirs while others speak or sing them. To help the process along, it adds the character of Mark Twain himself as a narrator. Those familiar with the original cast recording will find more than just the songs sound familiar, for the voice of Huck is provided by the actor playing Twain, who is the same actor who played Huck in the original production. Here Daniel Jenkins joins in a partnership with young Tyrone Giordano who plays with all the energy of youth communicated through sign language while Jenkins delivers the audible portion of the part, often from the lip of the stage or the side of the set. Michael McElroy who plays Jim uses his own booming voice while signing each meaning. The duets between him and Giordano/Jenkins are exceptionally thrilling as the meaning of each moment is captured not only in audible sound but in signs which cannot be mistaken by anyone, even those with no fluency in sign language. The signing of “You see the same stars through brown eyes as I see through blue” is an unmistakable visual testament to newly discovered truth.

The work of many, including the team of American Sign Language masters headed by Linda Bove and Freda Norman, can be cited for the special magic of this production but it is the work of director and choreographer Jeff Calhoun that must be singled out. Bringing a choreographer’s eye to the director’s chores has been important in many musicals over the years but perhaps never this important. Sign language, after all, is a means of communication very similar to dance. But it is also a language that is directional, a sign must be viewed from straight on to be fully read. On stage, you can’t have a dialogue where two “speakers” face each other, giving the audience just a side view of signs which would be meaningless from that angle. On the other hand, you can’t really get away with two people supposedly signing to each other who aren’t signing in each other’s direction. What to do? Choreograph it like a dance! This is the skill that Calhoun brings to the equation and his work makes the show something special indeed.

The show has always been a crowd pleaser and this production is no exception. A brightly colorful design uses the pages of Twain’s book as set pieces. The costumes are just right for period and character, including a tremendously entertaining pair of duplicate costumes for the two actors playing Huck’s Pap, Troy Kotsur and Lyle Kanouse - one signing and one voicing in one of the most entertaining joint efforts in recent memory.  The show is a limited engagement, with tickets on sale only through September 14. Let’s hope for both a lengthy extension and a subsequent tour so that the unique joy of this production can be shared with a larger number than the lucky few who can get to New York this summer.

Written by William Hauptman based on the novel by Mark Twain. Music and lyrics by Roger Miller. Directed and choreographed by Jeff Calhoun. Musical direction and special musical arrangements by Steven Landau. Design: Ray Klausen (set) David R. Zyla (costumes) Michael Gilliam (lights) Peter Fitzgerald (sound). Cast: Michael Arden, Scott Barnhardt, Catherine Brunell, Walter Charles, David Aron Damane, Christina Ellison Dunams, Gina Ferrall, Phyllis Frelich, Tyrone Giordano, Daniel Jenkins, Lyle Kanouse, Rod Keller, Troy Kotsur, Kevin Massey, George McDaniel, Michael McElroy, Drew McVety, Guthrie Nutter, Ryan Schlecht, Josif Schneiderman, Gwen Stewart, Melissa van der Schyff, Alexandria Wailes.