REVIEW: The 25th Annual Putnam County Spelling Bee (Kennedy Center)
It’s only been about six months since I saw my first Spelling Bee production. (Well, it may have been my first physical production, but I was quite acquainted with the music.) Compass Rose Theatre in Annapolis put it on in their humble space at Maryland Hall — if you may recall, I found their charming production lush with youthful pizzazz and featuring a kick-ass local ensemble. It’s the kind of version I always imagined William Finn and Rachel Sheinkin’s 2003 work would stay evergreen by sticking to, especially since I couldn’t imagine an original musical as small and un-splashy debuting on Broadway in today’s conditions. But the Kennedy Center has decided to put that thought to the test by hosting this syntactical skirmish as part of their Broadway Center Stage series under the direction of Danny Mefford.
But I’ll cut to the chase: this defined and energetic production might just be my favorite Center Stage yet.
Book/Music
My review from April still stands. But what differs is the obvious oomph from the Kennedy Center Orchestra, enhanced acoustics from the Eisenhower theatre, and emphatically cinematic direction from Mefford. I already find this to be a chucklesome, yet ravishing gateway foray into musical theatre, but I am now confident that it’s a must for any theatre fan to familiarize themselves with. Rarely does a show come through with such un-seriousness, character memorability, and a well-rounded score; though it’s been out more than 20 years and is frequently produced in local houses, I seldom hear it come up in casual conversation like I do with Wicked, Spring Awakening, or other popular shows from its era. Let’s hope that changes, rapidly. 10/10
Acting
As is standard for the Center Stage series, the Kennedy Center imports several known names from stage and screen to have ‘em dance around in a musical for a week. Sometimes, you get a buzzy singular name that sells tickets but ostensibly makes the entire thing about them — or the opposite, where the names aren’t a huge draw outside of serious Broadway fans. But then every so often the Kennedy Center strikes a near-flawless balance with it.
This is one of those times.
There’s of course Bonnie Mulligan (Tony-winner for Kimberly Akimbo) as the moderator Rona Lisa Peretti, alongside Taran Killem (SNL, Spamalot) as the Vice Principal Panch, her co-chair. Noah Galvin and Beanie Feldstein, famed theatre kids who have a film presence these days, slay as Leaf Coneybear and Logainne Schwartzandgrubenierre, respectively —though I think projection would have been improved without as strong of a lisp on Beanie’s part. Glee’s Kevin McHale makes his stage debut (?????) in a fabulous William Barfée, who has a healthy stage chemistry with counterpart Nina White’s placid Olive Ostrovsky (herself having a word-themed reunion of sorts with Mulligan as an Akimbo alum.) Alex Joseph Grayson’s gilded Mitch Mahoney (“Mitch. Mahoney.”) is given ample time to shine, as is the pitifully funny antics that befall Philippe Arroyo’s Chip Tolentino. Leana Rae Concepcion rounds out the cast with a stellar Marcy Park, whose “Six Languages” anthem against expectations rocks the house in the second half. The mix of well-known Broadway stars to even-more-well-known-but-not-too-much-so screen stars is an excellent budgetary mix that provides the audience with an all-star performance package without anyone stepping on toes. The balance is achieved, with great fanfare. 10/10
Production
Paul Tate Depoo III’s staging is an infallible portal into an elementary school gym. I take it you’ve never wanted to be particularly placed back in that space, but I promise it’s a good thing: the set is rife with kitschy detail and jovial behavior. Just take a look at the “PUTNAM PIRANHAS” banners behind the matte yellow steel pillars, and the hastily tacked-on “25th” that adorns the Bee’s banner. The cracked concrete of a circa-1973 elementary school building creates a sense of wornness, and the banners above indicate a lived-in history, instead of a detached auditorium — which are boosted by the varietally textured lighting designs of David Weiner. These humanistic features create an ever-greater connection to the characters and make them feel much realer, despite their cartoonish behavior and oddball names. Even still effective are Emily Rebholz’s muted, though modern, costumes and Mefford’s bouncy choreography. 10/10
Viz
Spelling Bee’s rights holder sure loves the crafty look of the original production’s marketing, as seen on the plain, yellow program art. I think that aesthetic is a little dated, but I can’t argue with how effective it defines the schoolyard qualities of the piece. Conversely, the dramatic window lighting that drapes the gymnasium is an excellently immersive way to welcome the audience. It gives you lots of opportunities to absorb the meticulous world that the Kennedy Center has constructed, such as noticing in the rafters how the Putnam Piranhas haven’t won a state title in Boy’s Badminton since 1999, but the Girl’s Soccer team has won it in basically every year of the millennium thus far. Small details like that are among the best examples one could find regarding subtle worldbuilding in theatre; and is it necessary? Probably not. But it only helps create a more engrossing universe, whether people notice or not. 10/10
Verdict
The Kennedy Center’s revival of Spelling Bee is an achievement in their Broadway Center Stage series, creating a complete theatrical package of humor, heart, and production value that demands to exist longer than a week. 40/40
