March 12–April 21, 2024 | Francis J. Gaudette Theatre • April 27–May 19, 2024 | Everett Performing Arts Center
In This Program
- About the Show
- Credits
- Musical Numbers
- A Note from Adam Immerwahr, Artistic Director
- A Note From Laura Lee, Managing Director
- Who’s Who
- Round and Round with the World’s Longest-Running Musical
- Community Partners
- Sponsor Spotlights
- Print Edition
- More About Village Theatre
About the Show
ADAM IMMERWAHR, Artistic Director
LAURA LEE, Managing Director
Book and Lyrics by
Tom Jones
Music by
Harvey Schmidt
Francis J. Gaudette Theatre
MARCH 12–APRIL 21, 2024
Everett Performing Arts Center
APRIL 27–MAY 19, 2024
Set Designer
PARMIDA ZIAEI
Costume Designer
ESTHER GARCIA
Lighting Designer
GEOFF KORF
Sound Designer
DARRON L WEST
Magic & Illusion Designer
DENDY
Stage Manager
MIRANDA C. PRATT*
Music Director
TIM SYMONS
Choreographer
KATY TABB
Director
ADAM IMMERWAHR
The musical is suggested by a play Les Romanesques by Edmond Rostand.
Since its opening in May 1960 at the Sullivan Street Playhouse in New York, and its subsequent revival at the Jerry Orbach Theatre, The Fantasticks remains the longest–running production of any kind in the history of American theatre.
This production of The Fantasticks was licensed by MTI.
Show Sponsors
Boeing
William Grassie Wine Estates
Season Sponsors
Artsfund
Microsoft
Producing Sponsors
4Culture
Everett Lodging Tax Advisory Committee
City of Issaquah Arts Commission
Seattle NorthCountry, made possible in part by assistance from the Snohomish County Hotel-Motel Tax Fund.
In-Kind Sponsors
Apex
Lombardi's Italian Restaurant and Bar
Credits
Cast List
Luisa
Miranda Antoinette
Henry
Anthony Curry*
Mortimer, Bellomy U/S
Mark Emerson*
Bellomy
Hugh Hastings*
Matt
Kawika Huston
The Mute, Dance Captain
Lisa Kwak
Hucklebee
Robert Shampain*
El Gallo
Michael Sharon*
Understudies
Matt
Kooper Campbell
Hucklebee, Henry
Jeff Church
Luisa, The Mute
Julia Kuzmich
El Gallo, Mortimer
Casey Raiha
Stage Management
Stage Manager
Miranda C. Pratt*
Assistant Stage Manager
Annika Evens
Production Assistant
Charles L. Simmons
*The Actors and Stage Managers are members of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Orchestra
Piano/Conductor
Tim Symons
Harp
Jared Parsons
Bass
Olivia Hamilton
Percussion
Jesse Whitford
Piano/Conductor
Ben Bentler
4/19, 4/20, 4/28 (2:00 p.m.), 5/1, 5/11, 5/12, 5/15, 5/16 (7:30 p.m.), 5/17
Substitute Musicians
Percussion
Curt Cheever
Bass
Chris Jones
For This Production
Fight Choreographer/Intimacy Director
Ian Bond
Associate Director
Cara Hinh
Associate Music Director
Ben Bentler
Associate Lighting Designer
Casey Price
Choreography Assistant
Gabriel Corey
Music Assistant
Paul Stovall
Crew
Head Stage Carpenter (Issaquah)
Whitman Paylor
Head Stage Carpenter (Everett)
Chris Mikolaizik
Lead Deck (Issaquah)
Olof Sander
Lead Deck (Everett)
Justin Babbitt
Lead Deck, Props (Issaquah)
Paige Donald
Lead Deck, Props (Everett)
Kyle Morgan
Head Electrician (Issaquah)
Paul Arnold
Head Electrician (Everett)
Brandon Cullinan
Follow Spot Operator & Swing Crew (Full Run)
Casey Leugemors
Follow Spot Operator (Issaquah)
Johnny Junior Venegas
Follow Spot Operator (Everett)
Richard Cole
Programmer (Issaquah)
Zac Andersen
Programmer (Everett)
Meghan McNeal
Head Sound Engineer (Issaquah)
Kurt Conway
Head Sound Engineer (Everett)
Erik Siegling
Lead Audio/A2 (Issaquah)
Jake Dyson
Substitute Head Audio Engineer (Issaquah) & Lead Audio/A2 (Everett)
Corbin D. Hopkins
Sound Technician (Issaquah)
Conor Fortner
Wardrobe Head (Issaquah)
Kate Simpson
Wardrobe Head (Everett)
Sean Holser
Key Scenic Carpenter
Ryan Amaya
Costume Shop Stitcher
Kali Pohle
Special Thanks
Northwest Pianos
Rod “Red” Gibson, Christie Lites Seattle
Totem Lake Shoe Repair
The Director is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.
All stage work performed by members of IATSE Local 15.
All costume construction and hair/make-up work is performed by employees represented by IATSE TWU Local #887.
All scenic painting work is performed by employees represented by IATSE Local 488.
United Scenic Artists represents the designers and scenic painters for the American Theatre.
The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.
The theatre operates under an agreement with Local 76-493, American Federation of Musicians, AFL-CIO, representing the musicians.
Musical Numbers
Act I
“Overture”
Orchestra
“Try to Remember”
El Gallo, Luisa, Matt, Hucklebee, Bellomy
“Much More”
Luisa
“Metaphor”
Matt, Luisa
“Never Say No”
Hucklebee, Bellomy
“It Depends on What You Pay”
El Gallo, Hucklebee, Bellomy
“Soon It’s Gonna Rain”
Luisa, Matt
“Abduction Ballet”
Company
“Happy Ending”
Luisa, Matt, Hucklebee, Bellomy, El Gallo
Act II
“This Plum Is Too Ripe”
Matt, Luisa, Hucklebee, Bellomy
“I Can See It”
Matt, El Gallo
“Plant a Radish”
Hucklebee, Bellomy
“Much More (Reprise)”
Luisa, El Gallo
“Round and Round”
El Gallo, Luisa, Company
“Beyond That Road”
El Gallo, Matt
“They Were You”
Matt, Luisa
“Metaphor (Reprise)”
Matt, Luisa
“Try To Remember (Reprise)”
El Gallo, Company
A Note from Adam Immerwahr, Artistic Director
Dear Friends,
I haven’t been able to stop thinking about The Fantasticks since I first read it.
First produced in the early 1960’s, this stage musical—filled with some of the most gorgeous and lyrical songs in the canon—was a wildly experimental new approach to musical theater storytelling. The iconic original production eschewed spectacle, relying simply on captivating performances, a handful of props, and the audience’s unbounded imagination. The story was simple yet told with poetic language that recalled centuries of Western theater, from the Greeks to Shakespeare. Its sweet, almost fairy tale first act gave way to a challenging, abstract, and dark exposure of humanity in the second half. It was at once a critique of romanticism, and yet somehow an absolutely perfect romance. Its characters were flawed, vulnerable, and tender—and yet these qualities were what made us love them more.
If there is a curious paradox of The Fantasticks, it is in how easily we forget the complex message of the show; its iconic song, “Try to Remember,” teaches us: “without a hurt, the heart is hollow.” Despite its sweetness, The Fantasticks is and always has been unflinching in its exploration of how hurt and pain can lead to growth and learning. But for many, those parts of the musical have disappeared in the folds of memory—leaving only a fond, if inaccurate, recollection of this story. Perhaps it’s the music, exquisitely crafted, that lingers in our minds and erases the details. Or perhaps it is that we do need to experience heartache so that we can relish romance—so much so that we forget the journey that took us there.
The history of The Fantasticks is fascinating; the writers grew and evolved the script frequently as the decades rolled by and the world changed around them. I urge you to visit Ellen Peltz’s thoughtful essay on page 16 for a window into the ever-changing script of The Fantasticks.
Next up at Village is Once on This Island, a beautiful and transportive musical set in the French Antilles. I’ve gotten a sneak peek at the designs, and they’re perhaps some of the most sumptuous I’ve ever seen (and our cast is amazing!). Next season promises to be a season of hits, from Camelot to Jersey Boys, Legally Blonde to The Color Purple and Dial M for Murder; you won’t want to miss a single show! For tickets, visit us at VillageTheatre.org or call us at (425) 392-2202.
Thank you for being here. Welcome to The Fantasticks. I’ll see you in the lobby.
Yours,
Adam Immerwahr
Artistic Director
As always, I look forward to hearing from you. Don’t hesitate to reach out at adam@villagetheatre.org to share your thoughts on this show or on Village Theatre.
A Note From Laura Lee, Managing Director
Dear Friends,
As I have grown older, my memories of early years have not completely faded, but they have changed. Gone are the specific details of what day of the week it was when I laid eyes on my first deep crush, or what I was doing when daydreams took me away questioning whether grasses were greener on the other side, but those feelings I had, they have not changed. I can remember them like it was yesterday.
It is that restless feeling of youth, the expectations of young love, the thrill of the unknown that we hope leads to greater rewards, that I remember so well and comes back to me when I hear the timeless music of The Fantasticks. I love that feeling of being on the cusp of something new, the next steps, the promises of tomorrow.
As The Fantasticks opens for us at Village Theatre, so too do the dreams and thoughts of our next times together—those stories just announced in our 2024–2025 Season, available now through subscriptions. I’m excited to say that in addition to the incredible line-up we have for you, we have added new perks for our subscribers, to reward your loyalty. We are also launching a new type of subscription, a Marquee, for those of you who wish to dive a little deeper into our art, with more flexibility and options.
As I daydream of next season, I know how fortunate I am to work closely with our Artistic Director as he helms the curation of the stories that we will share together. I know our next season will be one full of romance and powerful stories, laughter and dazzling dancing, tingly thrills and chills, and soul-stirring music that brings beauty and hope to us all. It is a season that brings us timeless treasures long loved and today’s riches newly found. And most importantly, I can see first-hand from watching Adam’s season selections that it is a season designed for you.
I hope that you will join us!
Laura Lee
Managing Director
P.S. Please feel free to send me your thoughts! laura@villagetheatre.org
Who’s Who
Cast
MIRANDA ANTOINETTE, she/her (Luisa) is thrilled to make her onstage debut at Village. Highlights include: Rapunzel in Into the Woods, Swing in Sweeney Todd: The Demon Barber of Fleet Street, and Betty Haynes U/S in White Christmas (The 5th Avenue Theatre); Sally in This is Halloween (Can Can Culinary Cabaret); Louise in The Hello Girls and Penelope in See How They Run (Taproot Theatre). For BlueWave Band, Memphis Belles, media and more, follow @mirandasforbiddensongbook. Thank you sponsor, CFIII.
ANTHONY CURRY, he/him (Henry) is thrilled to be returning to Village Theatre’s stage. He was last at Village in Terezin, La Cage Aux Folles, and Bell, Book and Candle. Over the last 35 years, he has performed at many of Seattle’s theatres including The 5th Avenue Theatre, Seattle Children’s Theatre, and The Empty Space. Curry is most proud of his work as the Writing Mentor for Village Theatre’s KIDSTAGE Originals program.
MARK EMERSON, he/him (Mortimer, Bellomy U/S). Village Theatre: Ken Ludwig’s Sherwood: The Adventures of Robin Hood, Mamma Mia!, She Loves Me, Rodgers and Hammerstein’s Cinderella. The 5th Avenue Theatre: Sweeney Todd: The Demon Barber of Fleet Street. National Tours: The Phantom of the Opera. London: Angels in America (Lyric Hammersmith). Regional: Sunday in the Park with George (The Repertory Theatre of St. Louis); Merton of the Movies (Dorset Theatre Festival). TV: “The Late Late Show with James Corden”. BS: Northwestern University; MFA: UCSD. Much love to Jake & Family! markemersonactor.com
HUGH HASTINGS, he/him (Bellomy) has often appeared at Village Theatre, The 5th Avenue Theatre, and Seattle Children’s Theatre as well as Seattle Shakespeare Company, Oregon Shakespeare Festival, Asolo Repertory Theatre, Arizona Theatre Company, and many others. Hugh has been a proud member of Actor’s Equity for over 35 years. He would like to thank his wife Connie for...everything.
KAWIKA HUSTON, he/him (Matt) was last seen at Village Theatre as Prince Christopher U/S and Ensemble in Rodgers and Hammerstein’s Cinderella. Recent: Prince Eric U/S in Disney’s The Little Mermaid and the Educational Touring Company (The 5th Avenue Theatre); the staged reading of The Last Days of Judas Iscariot (Tacoma Arts Live). Other favorite roles include Rum Tum Tugger in Cats and Chip Tolentino in The 25th Annual Putnam County Spelling Bee. J, always. @kawikahuston
LISA KWAK, she/her (The Mute, Dance Captain). Credits: Hello, Dolly!, Rodgers and Hammerstein’s Cinderella (Village Theatre), Afterwords (The 5th Avenue Theatre). Lisa holds a BA from the University of Washington, and has danced works by Camille A Brown, Etienne Cakpo, Alyza Delpan-Monley, Leslie Kraus, David Rousseve, Shapiro & Smith, and new works with the Chamber Dance Company, PRICEarts, the Guild Dance Company, Dani Tirrell and the Congregation, and the Three Yells. Lisa was a 2021 Village Theatre Northwest Creator Resident. lkwak.com
ROBERT SHAMPAIN, he/him (Hucklebee) is thrilled to be debuting at Village in this great first Immerwahr-chosen season! He has acted and directed in New York, Seattle, LA, and the UK as well as many regional theatres. Some favorites: The Light in the Piazza (Dir. Bart Sher), Inman (Dir. Sir Jonathan Miller), The Odyssey (Dir. Mary Zimmerman), Temple (Dir. Gabriel Barre); and You’re a Good Man, Charlie Brown (UK revival). He was a recurring guest star on “Z-Nation” and did lots of other film/TV and theatre during 11 years in LA. Smartest thing he ever did: marrying Wendy 20 years ago and having Noah and Emma.
MICHAEL SHARON, (El Gallo) returns to Village Theatre for the first time since beginning his professional career here as Joe Hardy in Damn Yankees. Favorite subsequent roles include El Gallo (Off-Broadway; Dir. Tom Jones), Macbeth, Julius Caesar, Don Quixote (BroadwayWorld Award), Emile DeBecque, and Captain Von Trapp (Carbonell Award nom.) at theaters including Folger Theatre, Goodspeed Musicals, Shakespeare Theatre D.C., New York City Opera, and nine seasons at the Oregon and Utah Shakespeare Festivals.
Understudies
KOOPER CAMPBELL, he/him (Matt U/S) is so excited to be back at Village Theatre. Most recent credits include: Sweeney Todd: The Demon Barber of Fleet Street (The 5th Avenue Theatre), Titianish (Seattle Public Theatre), and A Charlie Brown Christmas (Taproot Theatre). Kooper graduated with a BFA in music dance theatre from Brigham Young University and an MA in arts administration from Southern Utah University. He sends his love to Juliette and Toodles. koopercampbell.com
JEFF CHURCH, he/him (Hucklebee U/S, Henry U/S) is excited to return to Village Theatre. Previously seen in Disney’s Mary Poppins and 12 or so magical moments dating back to On the Town in 1997. Recent work includes Sunset Boulevard (Showtunes Theatre Company), The Hello Girls (Taproot Theatre), and set design for Reboot Theatre’s 2023 production of 110 in the Shade.
JULIA KUZMICH, she/her (Luisa U/S, The Mute U/S) is thrilled to join Village Theatre after graduating from Ohio University in 2023 with a BFA in musical theatre and a certificate of performing arts health and wellness. She has performed at The Utah Shakespeare Festival and Milwaukee Rep. Her favorite roles include Natasha in The Great Comet of 1812, Liesl in The Sound of Music, and Ensemble in Sweeney Todd: The Demon Barber of Fleet Street. IG: @julia.kuzmich
CASEY RAIHA, he/him (El Gallo U/S, Mortimer U/S) was last seen at Village Theatre as Barry Mann U/S in Beautiful: The Carole King Musical this season, and earlier seasons as Rob U/S in The Book Club Play and Sergei in Matilda. Other local credits: Cinderella’s Prince/Wolf in Into the Woods (The 5th Avenue Theatre), Lysander in A Midsummer Night’s Dream (Seattle Shakespeare Company), and the title role in Indy Jones and the Raiders of the Last Temple of the Doomed Ark (Seattle Public Theatre). “Love to Meagan and the folks!” CaseyRaihaVO.com
Creative Team
ADAM IMMERWAHR, (Director) serves as Artistic Director of Village Theatre, where he is responsible for season selection and oversees the artistic, education, and production departments. He recently directed Village’s production of Ken Ludwig’s Sherwood: The Adventures of Robin Hood. He previously served as Artistic Director of Theater J, the Associate Artistic Director at McCarter Theatre, and the Resident Director of Passage Theatre. Adam’s producing credits include new works by Edward Albee, Christopher Durang, Danai Gurira, Fiasco Theater, Will Power, Stephen Wadsworth, Tarell Alvin McCraney, and Ken Ludwig, several of which have transferred to Broadway or off-Broadway. As a director, Adam’s work has been seen from Aspen to Zimbabwe, including at some of the top theaters in the country: The Public and Theater Row (both for Summer Play Festival), Ensemble Studio Theatre, Walnut Street Theatre, Woolly Mammoth, McCarter Theater, Cleveland Play House, Lyric Theater of Oklahoma, Theater J, Passage Theater, Hangar Theater, Bristol Riverside, and many others. He serves on the Board of the Issaquah Chamber of Commerce and is an inaugural member of the Drama League Director’s Council.
KATY TABB, she/her (Choreographer) is honored to return to Village Theatre after previously choreographing: Rodgers and Hammerstein’s Cinderella, Mamma Mia!, Singin’ in the Rain, Billy Elliot, ZM, and Disney’s Newsies (Gregory Award recipient). Katy’s work as a director and choreographer has been presented at The 5th Avenue Theatre, Olney Theatre Center in Washington, D.C., Seattle Symphony, Cornish College of the Arts, The Triple Door, Taproot Theatre, Showtunes Theatre Company, and numerous Village Theatre’s KIDSTAGE productions. Thank you for supporting live theatre!
TIM SYMONS, he/him (Music Director). Credits: Songs for a New World, The 25th Annual Putnam County Spelling Bee, Hart Island, Into the Woods, Cabaret, Jesus Christ Superstar, The Who’s Tommy (Village Theatre); Rock of Ages, The Hunchback of Notre Dame, Romy & Michele’s High School Reunion (The 5th Avenue Theatre); Assassins (ACT Theatre); Man of La Mancha, Xanadu (Arizona Theatre Company). Original scores for Seattle Children’s Theatre, Seattle Shakespeare Company, and Village Theatre. Resident Music Supervisor for Village Theatre since 2005. Former KIDSTAGE kid. Love to Taylor, Cedar, and Winslow!
PARMIDA ZIAEI, she/her (Set Designer) is an Iranian multidisciplinary artist and designer and the co-founder of Seda Iranian Theatre Ensemble. Parmida has been a scenic and production designer with many Seattle theaters including Village Theatre (Sense and Sensibility), ACT Theatre, Seattle Shakespeare Company, ArtsWest, Seattle Public Theater, among others. When not designing, Parmida performs, choreographs, and teaches as a movement artist. Parmida has been the recipient of multiple residencies including the 2022 Northwest Creator Residency at Village Theatre. parmidaziaei.com
ESTHER GARCIA, she/her (Costume Designer / Costume Director) has designed for opera, modern dance, theater, and burlesque, including Village Theatre’s She Loves Me, Million Dollar Quartet, and the most recent production of Hello, Dolly! Esther has a BFA from the University of Oregon with an emphasis in costume design. She has designed for Taproot Theatre, Eugene Opera, Lord Leebrick Theater, Lane Community College Theater and Dance Department, and the University of Oregon School of Music. Favorite designs include Hello, Dolly!, She Loves Me, Million Dollar Quartet, Pagliacci, Carmen, A Little Night Music, and HMS Pinafore.
GEOFF KORF, (Lighting Designer) has designed lighting for more than three hundred productions including 108 world premieres. Notable world premieres have included August Wilson’s Two Trains Running directed by Lloyd Richards, Disney’s High School Musical directed by Peter Rothstein, and Larissa Fasthorse’s Urban Rez directed by Michael John Garcés. Geoff is a member of the Ensemble of Cornerstone Theater, and a graduate of California State University, Chico and the Yale School of Drama.
DARRON L WEST, he/him (Sound Designer) is a Tony and Obie Award-winning sound designer whose 30-year career spans theater and dance, Broadway and Off-Broadway. His work has been heard in more than 600 productions all over the United States and internationally in 15 countries. Additional honors include the Drama Desk, Lucille Lortel, Audelco, and Princess Grace Foundation Statue Award. Thirty-year company member designing the productions of Anne Bogart’s SITI company.
NATE DENDY, (Magic & Illusion Designer). A magician, actor, and designer, Dendy has most recently created magic for the Broadway revival of Sondheim’s Company. He has also designed magic for NETFLIX, and for Penn & Teller. Off-Broadway credits include: Prairie du Chien (Atlantic Theater Company), and Derren Brown’s Secret (Atlantic Theater Company). Regional credits include: The Tempest (American Repertory Theater, Chicago Shakespeare Theatre, South Coast Rep); The Fantasticks (Arena Stage, Trinity Rep, South Coast Rep); Angels in America (Risk Theater Initiative); and Dracula (Cincinnati Playhouse). He also appears on “Penn & Teller: Fool Us” (CW Network). Dendy has received a Jeff Award nomination and two Helen Hayes Award nominations for his stage work as an actor. Follow him on Instagram @natedendy.
MIRANDA C. PRATT, she/her (Stage Manager) is thrilled to be working on this show with this amazing team! Miranda is also grateful to be serving as the theatre’s Resident Stage Manager. She has worked on a number of shows at Village since 2014, including Dreamgirls, Matilda the Musical, Songs for a New World, and Cabaret. In her spare time, Miranda also tries to stage manage for The 14/48 Projects whenever possible and loves lifting heavy things. All the love to Chris and Odin.
ANNIKA EVENS, (Assistant Stage Manager) is excited to be back at Village Theatre. Some favorite credits include: Sense and Sensibility (Village Theatre), The Prom (Village Theatre’s KIDSTAGE); Merry Wives of Windsor (Seattle Shakespeare Company); Disney’s The Little Mermaid (The 5th Avenue Theatre); Wise Kids of Chelm (Youth Theatre Northwest); Matilda the Musical, Hamlet (New London Barn Playhouse); and KÀ (Cirque du Soleil). Annika is a graduate from Carnegie Mellon University with a BFA in stage and production management.
ADAM IMMERWAHR, (Artistic Director) See bio above.
LAURA LEE, (Managing Director) began her tenure with Village Theatre in July 2022 and is responsible for the marketing, fundraising, patron services, operations–facilities & IT, human resources, and the finances of Village Theatre. She strives to keep the care and comfort of her board, staff, artists, volunteers, patrons, and donors at the top of her mind each day. She previously served as the Managing Director of Seattle’s ArtsWest for 10 years.
In addition to her theatre work, Laura is the founder of Production Sports, and was the first to bring elite, international, network-televised events to Everett, WA, working with U.S. Figure Skating, USA Gymnastics, USA Diving, and the Seattle and Snohomish Sports Commissions. Laura serves on the Lodging Tax Advisory Board of the City of Issaquah and is a supporter of the Mayors and Business Leaders for Public Safety.
Laura resides in Monroe, WA, with her husband and her dog. She is a mother of four children, who are now grown and flown.
TOM JONES, (Book and Lyrics) and HARVEY SCHMIDT, (Composer). Composer Harvey Schmidt and lyricist Tom Jones are the legendary writing team best known for shaping the American musical landscape with their 1960 hit, The Fantasticks. After its Off-Broadway opening in May 1960, it went on to become the longest-running production in the history of the American stage and one of the most frequently produced musicals in the world.
Their first Broadway show, 110 in the Shade, was revived on Broadway in a new production starring Audra MacDonald. I Do! I Do!, their two-character musical starring Mary Martin and Robert Preston, was a success on Broadway and is frequently done around the country. For several years Jones and Schmidt worked privately at their theatre workshop, concentrating on small-scale musicals in new and often untried forms. The most notable of these efforts were Celebration, which moved to Broadway, and Philemon, which won an Outer Critics Circle Award. They contributed incidental music and lyrics to the Off-Broadway play Colette starring Zoe Caldwell, then later did a full-scale musical version under the title Colette Collage. The Show Goes On, a musical revue featuring their theatre songs and starring Jones and Schmidt, was presented at the York Theatre, and Mirette, their musical based on the award-winning children’s book, was premiered at the Goodspeed Opera House in Connecticut. In addition to an Obie Award and the 1992 Special Tony Award for The Fantasticks, Jones and Schmidt were inducted into the Broadway Hall of Fame at the Gershwin Theatre, and on May 3, 1999, their ‘stars’ were added to the Off-Broadway Walk of Fame outside the Lucille Lortel Theatre. Then in 2012, Jones and Schmidt were honored by being inducted into the Songwriters Hall of Fame.
Harvey Schmidt passed away on February 28, 2018. Tom Jones passed away on August 11, 2023.
Round and Round with the World’s Longest-Running Musical
By Ellen Morgan Peltz
As the world’s longest-running musical, The Fantasticks has played an active role in our collective experience for the past sixty years. How did a simple parable about young love claim such an enviable position within the theater canon? While it’s tempting to attribute the success of The Fantasticks to longevity and luck, the truth has more to do with evolution than endurance.
1894
The story of The Fantasticks comes from the 19th century play Les Romanesques by French dramatist Edmond Rostand in which Shakespeare’s Romeo and Juliet is turned on its head. In their retelling of the story, Jones, Schmidt, and Baker incorporated elements of vaudeville as well as stylistic conventions of East Asian theater and commedia dell’arte, a Renaissance Italian theater movement. They were also inspired by theater they saw in New York and elsewhere, including an experimental Italian company called Piccolo Teatro di Milano, Thornton Wilder’s Our Town, and the Leonard Bernstein/Lillian Hellman/Dorothy Parker operetta Candide.
1960
Born from a collaboration among three theater-loving Texans who met in college, The Fantasticks premiered in an inauspicious off-Broadway basement theater in 1960. While it wasn’t an instant success, the production ran for nearly 42 years. This was due in large part to the robust and global fandom that developed when, in 1961, the show’s producers broke from tradition to make the rights to The Fantasticks available for stock and regional productions rather than waiting until the show closed in New York. The Fantasticks quickly became a standby in community theaters, high schools, and summer stock stages around the world, driving out-of-town audiences to New York to see the production that started it all.
The Fantasticks broke all the rules of traditional theater when it premiered. In an era of big musicals that left little to the imagination, The Fantasticks did just the opposite. While the show as a whole maybe have felt totally original to those first audiences, the individual components of the production can be sourced back to the eclectic artistic influences of its creators – librettist and lyricist Tom Jones, composer Harvey Schmidt, and director Word Baker.
2000
Creative utilization of styles and settings is in the DNA of The Fantasticks and has been key to the musical’s continued success. A film version of The Fantasticks directed by Michael Ritchie and released in 2000 was set in a small Western town that was visited by a magical carnival. A 2009 revival directed by Amanda Dehnert placed the characters in the ruins of a midway. In 2022, Jones himself rewrote the play to features two gay men as the young lovers.
Even the “traditional” production of The Fantasticks has evolved over time. Originally, one of the key songs in the musical – in which the narrator convinces the fathers of the lovers to stage an abduction of the girl in order to provide the boy with a heroic opportunity to save her – described the kidnapping repeatedly as a rape, referencing the archaic use of the world rape, “to abduct.” In 1990, for the show’s thirtieth-anniversary national tour, Schmidt and Jones cut the song (“It Depends on What You Pay”) and replaced it with a new song called “Abductions.” In 2006, when Jones remounted The Fantasticks for an off-Broadway revival, he revisited “It Depends on What You Pay” and wrote new lyrics, replacing “rape” with words including “raid,” “abduction,” “prank,” “chase,” and “siege.”
2024
Village Theatre’s production of The Fantasticks is the most recent in a long line of creative reinterpretations of what is now a classic musical. Look and listen closely and you might catch lyrics or see staging that takes you by surprise. When you do, just remember that you’re witnessing the show’s legacy of evolution in action – a legacy that has allowed The Fantasticks to endure for over half a century and, with any luck, will continue to carry it forward.
References
Farber, D. C., & Viagas, R. The amazing story of The Fantasticks: America’s longest-running play. Limelight Editions. 2005.
Marks, Peter. “Theater Review: Area Stage’s ‘The Fantasticks.’ ” The Washington Post, 30 Nov. 2009.
Gans, Andrew. “The Fantasticks Creator Tom Jones Rewrites Classic Musical as Gay Love Story, Premiering in June in Michigan.” Playbill, 17 May 2022.
“Updating ‘The Fantasticks’ for a New Revival.” NPR, 23 Aug. 2006, www.npr.org/transcripts/5697901. Accessed 13 Jan. 2024.
Photo Credits
1: Les Romanesques, Bibliothèque nationale de France, Public domain, via Wikimedia Commons
2 & 3: Otterbein University Theatre & Dance from USA, CC BY-SA 2.0 via Wikimedia Commons
Community Partners
The Garage is a non-profit drop-in space exclusively for high school teens. We’re a safe space for teens to come hang out with friends, grab a coffee and a snack, play a game, play music, watch TV, talk over homework, and so much more, all free of charge! Our teens develop and produce all activities and events that happen at the Garage under guidance of and support of staff. In addition, we also have free counseling and case management services for all of our teens! Your support would help us continue our work of keeping teens fed, safe, and thriving in a community of their own making! Visit Issaquahteencafe.org to learn more and to make a donation.
Housing Hope promotes and provides affordable housing and tailored services to reduce homelessness and poverty for residents of Snohomish County and Camano Island. They are relentlessly focused on breaking the cycle of poverty and homelessness through three innovative areas: homes, jobs, and children. With your donation, you’re helping your neighbors in Snohomish County and Camano Island overcome poverty, escape homelessness, and grow in self-sufficiency. Make a gift at housinghope.org/donate.
Sponsor Spotlights
ArtsFund is proud to support Village Theatre’s mission as they continue to produce dynamic programming that highlights innovative artists in the Pacific Northwest. ArtsFund’s support of local arts organizations is only possible through the contributions of donors in this community, and we are immensely grateful to the generous individuals and businesses who have supported ArtsFund as well as Village Theatre. We will continue to support arts organizations, like Village Theatre, that elevate the voices of Washington state through our leadership, advocacy, and grantmaking programs. We are excited to see what will be performed throughout this season!
The Boeing Company is committed to improving the quality of life within the communities where our employees live and work. Our Global Engagement programs implement Boeing’s philanthropy through local charitable investments, volunteerism, employee drives, personal giving, disaster response, and other integrated programs. Boeing is proud to be a supporter of Village Theatre’s productions and musical theatre education programs, and we are pleased to welcome you back to live theatre. Enjoy the show!
Microsoft is pleased to sponsor Village Theatre’s 2023-2024 Season, and to welcome you to the production of The Fantasticks. Village Theatre is a favorite among our employees and their families, and we are delighted to support a vibrant community arts organization that brings high quality entertainment to the Eastside. We encourage employee engagement and volunteerism in the community throughout the year and through support of great organizations like Village Theatre, we aim to foster a strong community culture where the arts will thrive for generations to come. Enjoy the show!
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