Finger Lakes Musical Theatre Festival brings a vibrant, sparkling 'Anne of Green Gables' to life (Review)

The stories of childhood -- friendship, rivalry, teasing, loyalty -- never grow old, but outdated settings, language, clothing and customs can make even the most enduring tale seem stale. Knowing what to toss out with the old and bring in with the new is a gut-level process, especially when the story involves an intergenerational children's classic. When it's done badly, it's cringe-worthy. But when the original is reimagined through a fresh, moving, and contemporary-feeling narrative while still preserving those best-loved elements, it's lightning in a bottle.

Or -- in the case of the Finger Lakes Musical Theatre Festival -- it's lightning onstage as "Anne of Green Gables: A New Folk Rock Musical" comes to life in a vibrant, sparkling and startlingly joyous production directed by Jenn Thompson with musical direction by Amanda Morton.

As FLMTF Producing Artistic Director Brett Smock told the opening night audience, "It's a first. You're the first people on Planet Earth to see this version of 'Anne of Green Gables,'" a musical which he explained has been in development for five years. With book and lyrics by Matte O'Brien and music by Matt Vinson, the show returns to Auburn in a full-scale version after being workshopped last year at "The PiTCH," FLMTF's annual summer incubator for new musicals. "Anne of Green Gables" is the first musical to move from "The PiTCH" to the mainstage of the Merry-Go-Round Playhouse. As Smock noted, "it's both exhilarating and terrifying...to participate in the development of new musicals" -- and to choose one as the second show of the 60th anniversary season.

Taken at face value, "Anne of Green Gables" is a simple story with little action. Written in 1908 by Canadian author L.M. Montgomery, its title character is Anne Shirley, an 11-year-old red-headed orphan whose grandiose vocabulary and runaway imagination are matched by a stubborn streak of independence and a five-alarm temper. Anne arrives in the quiet farming village of Avonlea on Prince Edward Island at the behest of Matthew and Marilla Cuthbert, a bachelor brother and spinster sister who are getting on in years and looking to take in a boy orphan to help around the farm. When a girl is mistakenly dispatched from the orphanage, Marilla is all for sending the child back, but Matthew resists. After agreeing that Anne can stay on a trial basis, the two weather Anne's endless scrapes and escapades and open up their hearts as well as their home.

In the century since its release, the book has sold over 50 million copies and spawned eight sequels in the "Green Gables" series. While many plays, musicals, movies and TV series have been based on Anne and her adventures, none have offered a definitive version that has seized audiences.

This musical has the potential to become that version of Anne. It has all the makings of a successful Broadway musical -- memorable tunes, empathetic characters, emotionally resonant scenes, and a happy ending. It's a show that deserves glowing reviews, sold-out performances, and a brighter, bigger future once it closes here in Central New York. That's because "Anne of Green Gables" is a direct hit to the heart, a poignant reminder that what separates us is nothing compared to what brings us together.

Writer Matte O'Brien (a Syracuse University Drama alumnus) pulls out Anne's best lines from the novel while adding zingy, snappy, Gilmore Girls-style dialogue; the resulting script and lyrics maintain the original spirit of the characters while also addressing the #MeToo generation.

Matt Vinson's original songs possess a bright, bubbly, instantaneous familiarity that'll have you wondering, Haven't I heard this before? Isn't this guy famous? Out of the 22 tunes spanning the range of folk rock, gospel, soul and Broadway pop, at least half a dozen are either so gosh-darn bouncy,  delectably bittersweet, or cleverly written that you'll be itching to go and buy the original cast album which -- of course -- doesn't yet exist. And when you google the songs and find them on YouTube and Vimeo, you'll realize that a work-in-progress is truly that; as good as the performances are -- recorded in cabaret settings, studio spaces, and rehearsal rooms -- they don't come close to what happens onstage in a fully-realized production supported by a 8-member orchestra, strikingly sharp choreography, lean yet evocative set design, effective lighting, and imaginative costuming.

The principal roles are all performed to near-perfection. As Anne, McKenzie Custin is a breathless, bright ball of energy and optimism with a heart-stopping voice; her performance in "Do You Know?" epitomizes the feelings every girl has when she realizes that beauty is rewarded and ugly is shunned. Michelle Veintimilla as Anne's best friend Diana is a brunette version of Broadway star Kristin Chenoweth; her little girl voice soars into the high and mighty range in her comic, bittersweet "Diana's Lament." Long associated with this project (see her videos online), she's an unexpected version of Anne's loyal companion and an improvement over Diana in the book. Another frequent collaborator with the creative team of Matte & Matt, Nancy Anderson is a steely Marilla who slowly unfurls to reveal a woman poignantly grieving past choices in "As the Years Went By."

As nosy neighbor Rachel Lynde, Dawn L. Troupe brings a textured dimensionality to the village gossip stereotype, infusing her with the necessary warmth, strength, and character to spur Anne forward in "Make a Move"; and her Ruth Bader Ginsburg-style collar is a terrific salute to impromptu acts of feminism everywhere. As quiet shy bachelor Matthew Cuthbert, D.C. Anderson gives a delicately dumbstruck, stunned performance upon first meeting loquacious Anne and remains true to character as he grows into a  a loving protector and champion. And finally, as Anne's nemesis Gilbert Blythe, Chris McCarrell balances smarmy and charming, turning the book's flat good-boy character into a more believable portrayal.

As a modern musical, "Anne of Green Gables" is packed with allusions to other successful Broadway shows. Discerning audience members will recognize hints of "Rent" in the costuming, set design and ladders; echoes of the "Les Miserables" barricade in the piled-up chairs, benches and hay bales left onstage during intermission; the girl power of "Wicked" in the Anne-Diana duets; dance moves reminiscent of "Hamilton" (choreographer Jennifer Jancuska is that show's Resident Choreographer and Dance Supervisor); a dash of "Spring Awakening" in the ensemble numbers and the staging; and even a taste of "Our Town" with a minimalist approach to props and actors sitting off to the side when not onstage. All these details add up to a show that feels comfortable -- as if we've seen it a dozen times before -- even though it's brand spanking new.

The show isn't preachy, but it does have things to say about sexism, feminism, the divisions of class and socio-economic background, and faith. "Hate makes the world so ugly... Anger wipes beauty away," Matthew tells Anne in an early scene when she snaps at remarks over the color of her hair -- a sore spot for our heroine. Out of all the lessons woven into "Anne of Green Gables," one bears repeating: finding the good in each other and letting go of hatred is at the root of community. When that lesson is wrapped up in an exuberant, engaging, well-paced production, it's not hard to take it to heart.

The Details
What: "Anne of Green Gables: A New Folk Rock Musical" produced by Finger Lakes Musical Theatre Festival
Where: Merry-Go-Round Playhouse, Emerson Park, Auburn
When seen: Opening night July 5
Length of performance: 2 hour 20 minutes plus intermission
Family guide: Suitable for all ages
Runs through: July 25
Information: (315) 255-1785, 1-800-457-8897, Fingerlakesmtf.com.

CNY Theater Guide