Some spaces are better suited to a musical than others. It’s the nature of the beast, that no matter how game the performers are, how much the team cares, how much love and craft and talent goes into a production, if the sound system doesn’t work well enough, or the acoustics are off, then a musical is never going to function as well as it should. It’s unfortunate then that Austin Playhouse’s current space doesn’t do justice to its latest production, a solidly mounted, well-crafted presentation of The Spitfire Grill, James Valcq and Fred Alley’s musical variation on the 1996 fan favorite film of the same name. That said, Austin Playhouse makes the most of its unfortunate circumstances, creating a cozy, full-hearted, and sweet production with some amazing talent on display, both on stage and off.
For those not familiar, The Spitfire Grill follows Percy Talbot, a mysterious young woman who, upon being released from prison, finds her way to the small town of Gilead, Wisconsin. With the help of the handsome local sheriff and a grumpy, but lovable old diner owner, she finds herself the newest waitress at the titular grill, the only restaurant in town; while also becoming the latest topic of local gossip. When Percy hears that diner-owner Hannah has been trying to sell the Grill, Percy sets about creating a contest to find a new owner, so that others may find the peace she’s found living in the big, wide woods of Gilead.
From the moment you sit down at The Spitfire Grill, director Lara Toner Haddock and company make it their goal to create an inviting ambiance for its audience. Mike Toner’s sets are simple but effective, creating a hand-made, homespun charm that’s perfect for a one-stop light town like Gilead. Glenda Wolfe’s costume designs also help to add a level of rustic authenticity, as the flannels and demin help to give everything a sense of time and place, helping to make each of the characters feel like they could have walked right off the streets of a small town. Underscoring all of this is the handful of emotionally powerful musicians, led by Musical Director and Conductor Lyn Koennig, who use a simple quintet of strings and keys to create some gorgeous moments of melodic wonder. It all comes together to transport everyone from that small, simple stage to the deep woods of Wisconsin.
From the earliest moments of the play, it’s obvious Ella Mia Carter brings all the requisite props to the work, but it’s the interesting acting choices she takes that truly impress. While she has a clear, gorgeous voice, to better inhabit Percy, she adds a rough edge, a growl and a pop to add a folksy charm. Indeed, Carter brings a somewhat chaotic, golden retriever energy to the performance, making her a delight to watch againt some of the more buttoned-down, drawn-in characters in the cast. Carter’s not given an easy task here, either, as The Spitfire Grill is surprisingly complex musically, but she tackles this monster of a score with skill beyond her years, complete with an unmistakable charm that radiates from her performance.
I can never help but smile when I see Sarah Fleming Walker’s name in a program. A mainstay of the Austin musical scene, she brings astonishing vocal control to the role of the soft-spoken Shelby, thoughtfully crafting each phrase, each musical idea into intriguing phonic shapes, creating a backbone that brings a bit of light and sparkle to a character who on paper may come off as meek or small. It’s a pleasure to see such a polished performer tackling such a soft-spoken character, as it shows her remarkable range. It’s especially fun to watch her against the bigger, more intense performance of Matt Connely, who absolutely devours every scene he enters as Shelby’s husband, Caleb, a perfect counterbalance against the crystaline, controlled work of Walker.
Bernadette Nason is one of the grand dames of Austin stages, and she brings a powerful presence to any stage she visits, and here is no different. Musicals are not her strong suit, but the confidence and charisma she brings with her to every scene is a thrill to behold. She wears the character of Hannah like a comfy sweater, playing the world-roughened battleship of a diner-owner with aplomb, her lovely crankiness bringing some of the biggest laughs of the work, and the way she plays with the supporting cast is never short of awe-inspiring.
Despite their setbacks, Austin Playhouse has proven that they produce fine works no matter what space they inhabit. Though the location doesn’t do them any favors, a skilled production staff and a talented cast transform the limited performance space into a cozy, sweet small town, creating a work so charming its hard not to fall in love, despite any shortcomings.
All photos courtesy of Austin Playhouse. The Spitfire Grill is playing through Sunday the 18th. For more information, and to purchase tickets, please visit austinplayhouse.com.
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