By James V. Ruocco
"Fairy tales don't happen by magic
There's gotta be somebody waving that wand.
And if I stopped for just one day,
How would life go on' "
It's not exactly a household name in musical theatre along the lines of "Rent," "A Chorus Line, " "The Sound of Music," "Oklahoma!" and "Grease."
So, what exactly is "Zanna Don't!" the smash, tongue-and-cheek, 2003 off-Broadway musical that has absolutely nothing in common with Jonathan Larson, Marvin Hamlisch, Rodgers & Hammerstein, Jim Jacobs and Warren Casey.
Is it a sequel to "Xanadu," the 1980 cinematic musical fantasy that starred Olivia Newton-John and Gene Kelly?
No.
Does it further the musical exploits of the 2007 Broadway musical adaptation of the same name that made on overnight star of Kerry Butler?
Absolutely not.
Is it a musical odyssey set in outer space?
Hardly.
Is it "High School Musical" meets "Glee?"
Not a chance.
Set in a candy-coated parallel universe where being gay is the norm and heterosexuality is strictly taboo, "Zanna Don't!" goes "Barbie" pink when a pair of opposite-sex Heartsville High School students find themselves falling madly in love, thus, causing immediate chaos amongst the teen populace, led by Zanna, the local, fun-loving non-binary matchmaker with a magical wand that can immediately change the course of anyone's destiny.
At Connecticut Theatre Company, an immersive, inviting theatrical venue known primarily for its eclectic musical treats and endeavors - "Spring Awakening," "Disaster," "Head Over Heels," "Young Frankenstein," to name a few - "Zanna Don't!" unfolds with an unabashed freshness, kick-step and intimacy that scores high marks for its standout blaze, its patch of good cheer, its striking portrait of friendship and camaraderie and its overall commitment to acceptance, sexuality, identity and choice.
As musical theatre, this revival of "Zanna Don't!" is as good as it gets.
It is surprisingly current and effective.
It is generous, quirky and joyfully queer.
It is coming of age funny and delightful.
Its expressive variety is lovingly executed.
Its richly comical, keen and abundant.
It's issue-led with a big, climactic payoff.
CTC's skillful, optimistic production of "Zanna Don't!" offers something for everyone.
As director, Duane Campbell is an observant, authentic interpreter who follows his own path, experiments, takes chances and steers a show forward with just the right balance of wit, irony, humor, surprise and sentiment. Here, he crafts a breezy and buzzy musical about acceptance and love that produces a grin, a tear and a hearty round of applause.
He gets the job done, but he does it with a style and a flair that is truthful, involved and full of command.
As "Zanna Don't!" evolves, there's plenty to mull over and giggle about including well-timed jokes about San Francisco, the military, opposite sex attraction, bull riding, heterosexuality, proms, high school musicals, stereotypes and high school football quarterbacks.
It's all in jest and Campbell has great fun fleshing out the musical's flip flop take on gayness being the accepted norm and heterosexuality being absolutely taboo. And while things are meant to played as camp or over the top, Campbell sustains the beating comical heart of the show with staging dynamics and blocking techniques that respect the concept of the show's originators, their opinions, their hyper-aware liveliness, their debunking and their comic gold enthusiasm.
The musical score, written by Tim Acito (music and lyrics) and Alexander Dinelaris (lyrics), mixes sweetness with satire and camp, offset by plumy spurts, visions and high-energized concepts about sexual identity, coolness, opportunity, romance and following your heart. The songs themselves - 19 in all - playfully embody these qualities, culminating in a musical medley of glee, defiance, surprise, judgement and humor that gives the "Zanna Don't!" narrative its candy-coated greatness and allure.
They are: "Who's Got Extra Love?" "I Think We Got Love," "I Ain't Got Time," "Ride 'Em," "Zanna's Song," "Be a Man," "Don't Ask, Don't Tell," "Fast," "I Could Write Books," "Don't You Wish We Could Be in Love?" "Whatcha Got?" "Do You Know What It's Like?" " 'Tis a Far, Far Better Thing I Do," "Blow Winds," "Straight to Heaven," "Someday You Might Love Me," "Straight to Heaven (reprise)," "Sometime, Do You Think We Could Fall in Love" and "Finale."
Taking his cue from the Acito/Dinelaris blueprint, musical director Nick Stanford brings a sparkling sense of whimsey and confidence to the "Zanna Don't!" musical score which lets it pop, gesticulate and entertain at full-face value. Full of vivid detail, ebb and surge, the unfolding musical numbers are played with clarity and trigger, each layered with a message, a giggle, a surprise or a spoiler alert as to what may or may not happen.
At the same time, there is commitment and drive here, whirling and teeming with a campy energy and zigzag that befits the material splendidly, its thwacking multiplicity, its sugar-coated demands and its attractive sound, instrumentation and ushering blaze.
For the Connecticut Theatre Company production of "Zanna Don't!" Stanford (at the keyboard) is joined by a trio of musicians - (Nick Zavaglia) (guitar), Emily Byrne (bass), Michael Wyatt (drums) - who bring lament and directness to the music, its fantasia, its diva moments, its eccentricity and its punchy solos, duets and contagious ensemble turns. More importantly, there's no guesswork here. Stanford and his band members are ideal partners, all on the same level in terms of sound, balance, intensity and release. In turn, the music glides merrily along with camp, sizzle, snap and clarity, voiced splendidly by the "Zanna Don't!" cast, all of whom get their moment to share vocal honors of roar, wallop and storm to thrilling, pitch-perfect, harmonic effect.
As Zanna, the magical, non-binary matchmaker of the musical's title, Charlie Hartel offers a thrilling, radiant turn that is raw, compassionate and illuminating. It's a natural, effervescent performance that brings to mind the pixie, endearing enchantment of former Disney star Janet Munro ("Swiss Family Robinson", "Darby O'Gill and the Little People") laced with a wonderfully played commitment to the storytelling, the character and the music. Vocally, Hartel's musical numbers are lovingly voiced with a strength and delicacy, guaranteed to deliver whenever Zanna's story is expressed through song.
Erin Aldrich, as Roberta, a tough-as-nails high schooler and great kisser, who, often is unlucky in love, invites the audience into her character's LGBTQ experience with genuine feeling, fascination, encouragement and perfectly timed hilarity. A graduate of the Hartt School of Music, her grandly voiced solo and ensemble turns reveal of tower of strength and rousing urgency that Aldrich exudes and controls with impressive, showstopping moments at the top of her range.
In the role of Kate, a notorious high school overachiever whose popular but complicated life produces sexual urges for both men and women, Emma Gulick crafts an amusing, sweetly mannered and enthusiastic performance that commands attention whenever she's on stage. There's a delicate smoothness to her characterization matched by a seamless blend of individuality and invention that is undeniably awesome. Vocally, she has plenty to sing about bringing great power and punch to the "Zanna Don't!" musical score.
As Mike, the Heartsville High dreamboat and champion chess player looking for the perfect guy to romance, Brandon Gregorie steps into his colorful role with a steadfast animation, flamboyance and loveable campus, all-star reflection that grabs the theatergoer's attention with a cut to the quick gallop and flourish that is greatly articulated and performed. When asked to sing, his ripe, resourceful delivery - exemplary at every turn - is powerful, focused and accommodating with an underlying power and richness that complements the material at hand.
Cast as Steve, a new Heartsville High student who has found a place as the quarterback of the football team, Staci Battle is fierce and funny offering an impressive performance that is authentic, real and versatile.
Other fine performances are delivered by Isabella Carvalho, Allie Reya, Alexis Dasher and Erin Frechette. All four barrel through the musical with a non-stop ease and flair completely in sync with the kitschy concept set forth by the musical's originators.
A musical with the accent on fun, "Zanna Don't!" is a candy-colored fairy tale with a uniquely clever rainbow twist that tilts, cajoles and spins merrily about with a laugh-out-loud silliness that's impossible to resist.
It's queer. It's over-the-top. Its glitter fueled. It's charmingly naive.
It has heart. It has soul. It has pulse. It has game.
It's high camp of the highest order dispelled with a magic wand, a toothy giggle and a sprinkle or two of "friends of Dorothy" madness.
Director Duane Campbell manages to make everything that happens feel hugely meaningful. Erin Frechette's spirited, athletic choreography is both lively and atmospheric. Musical director Nick Stanford enlivens the proceedings with diagnosed pop musical amplification.
And the "Zanna Don't!" cast jump back and forth into the spotlight with an adrenaline rush of innovation and love that culminates into a celebratory partnership of love, choice and identity that hits hard with a firecracker smile and an endearing wiggle.
Photos of "Zanna Don't!" courtesy of Duane Campbell
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