Theater review: Big River stays true to

Twains great story

Ben Fankhauser as Huckleberry Finn and Phillip Boykin as Jim in Big River produced by
Music Circus at the Wells Fargo Pavilion June 23-28, 2015. | Photo by Charr Crail
BY MARCUS CROWDER
mcrowder@sacbee.com

The greatness of Mark Twains The Adventures of Huckleberry Finn doesnt

waver. Though the 1884 novel originated in a different time, the contemporary
resonance of the tale of a vagabond white boy accompanying a black runaway
slave to freedom has unavoidable heft in the current social landscape. The
canny, heart-tugging musical adaptation Big River now at Music Circus

effectively transfers Twains humor, drama and unaffected human observation to

the stage with a deep-rooted, magnificently sung production.
The original Broadway production opened April 25, 1985, and ran for more than
two years, winning seven Tony Awards in 1985, including best musical, best
book of musical and best musical score.
Narrated by Ben Fankhausers spirited Huck, director Michael Heitzmans
buoyant production embraces both the sentimentality and grit of William
Hauptmans book. Roger Millers lively, varied score embracing country and
gospel elements anchors the story with a moving, soulful core. Fankhauser and
production stay remarkably true to Twains thorny portrait of the conflicted Huck,
who finds himself caught up in the murky area of doing right.
Hucks personal morality and instincts push him into helping his friend Jim
escape to freedom, but the idea that this is illegal and wrong weighs on him
with a palpable dread. Yet the overwhelming, life-affirming presence of Phillip
Boykins Jim crushes any justification of human bondage. Boykin, so affecting at
Music Circus as Joe in 2013s Show Boat and a Tony Award nominee for his
work in Porgy and Bess, again showcases his world-class bass baritone voice
throughout the production.
William Parry and Jeff Skowron have nifty turns as con men whom Huck and Jim
meet on the river. Lizzie Klemperer makes an engaging Music Circus debut as
Mary Jane Wilkes, a strong-willed young woman who provokes powerful
reactions in Huck.
Nearly bringing down the house was vocal soloist Jennifer Leigh Warren, from
the original Broadway cast, who soars on How Blest We Are, written for her by
Roger Miller.
The shows rough racial hopefulness rooted in material more than 100 years old
felt simultaneously uplifting and frustrating despite a production and
performances that were uniformly compelling.
Marcus Crowder: 916-321-1120, @marcuscrowder