Abigail Bennet and Danny Hauskins in The Secret Garden
If you were the kind of kid whose games of pretend involved lonely orphans, mysterious estates, and magical secrets, odds are that Frances Hodgson Burnett’s classic children’s novel The Secret Garden probably holds a special place in your heart. And if you loved the book in childhood, you’ll be pleased to learn that the Spotlight Theatre is currently staging a musical version, directed by Noah Hill.
In the story, the orphaned Mary Lennox (Abigail Bennett) is sent to live with her reclusive uncle Archibald Craven (Matthew Downey) at Misselthwaite Manor. After she discovers a secret garden and secret cousin that have both been locked away for a decade, Mary determines to breathe new life into both. With the help of the genial Dickon (Danny Hauskins), both the garden and Mary herself are transformed from thorny enigmas into blooming delights. We attended the opening-night performance on Friday, April 10.
Kitty: You’re a big gardener.
Mischa: Well, I try! I certainly love to see a story revolving around a garden.
K: This story created my expectations for what a garden should be, by the way: an enchanted place unlocked by a hidden key with a kind local who does most of the work for me and charms bushels of roses into magically growing while I hold a small spade and talk to birds.
M: Our backyard might be a little less enchanted – but then, it’s hard to measure up to the special qualities of Burnett's iconic garden. Hill's production leads us into that place very skillfully, first of all through Mary’s eyes and experiences. Bennett delivered a fully convincing portrayal, moving from neglected and entitled to curious and compassionate over the course of the story.
K: She was fantastic. Mary is such a complicated protagonist because, in the beginning, she’s just not likable. You kind of understand why her uncle keeps his distance. I thought that Bennett did an especially good job of exuding just enough hopeful curiosity in the role that we were rooting for Mary to change rather than just writing her off. Really, the young actors kind of stole the show. Christopher Peake also did a wonderful job as Colin Craven.
M: I especially relished the scene in which Bennett and Peake got in a shouting match. They were both completely engaged. They also have polished and confident singing voices, impressively showcased in “The Girl I Mean to Be” and “Round-Shouldered Man,” respectively.
K: Another singing voice that stood out for me was Marissa Elliott's. Her Lily Craven is an interesting role because she’s already deceased at the musical's start. She functions not as a ghost, exactly, but kind of like a benevolent spirit guide. Honestly, this character reminded me of the mystery spirit in Frozen 2 … and Elliott had the vocal talent to match! Her haunting soprano was genuinely moving, especially during such songs as “Come to My Garden,” where she compels Colin to find the strength to get well.
M: Maybe it’s the gardener in me, but I’d argue that the garden itself is perhaps the show's true protagonist, and that’s why Lily – the guardian spirit of this garden she created – needs that focus. But speaking of great vocals and characterizations, we should also give kudos to Hauskins, who infused Dickon with jaunty, rustic life, delivering spot-on vocals in numbers including “Winter’s on the Wing.”
K: Hauskins was unfailingly upbeat – charming without becoming annoying. And he managed to sing in a Yorkshire dialect, which was impressive. His whimsical portrayal made me smile.
M: I also enjoyed Joe Urbaitis’ well-fleshed-out character part as the gardener Ben Weatherstaff, who was equally essential for the horticultural theme.
K: On the flip side, though, this musical introduces a new character whose inclusion felt a little less necessary. Neville Craven isn’t in Burnett's book, and I’m still wondering why he was added. This is more a critique of the writing than of Julian Vandervelde’s performance. He gave the role a menacing edge and played a villain convincingly. But the subplot involving Neville’s secret love for Lily seemed to complicate things more than enhance them, drawing focus away from the tale's more central themes.
M: The addition of Neville did give the brothers a chance to perform a really striking duet with “Lily’s Eyes” – although I think they could've played it even more all-out.
K: I agree. I wanted the men to have more proximity on stage during that number to create tension. Vandervelde and Downey have strong voices individually, but they didn’t blend smoothly, which maybe works well thematically, but not musically. I do also have one more thing to mention about Archibald Craven.
M: Fire away!
K: He’s referred to as a “hunchback” multiple times. It’s a major plot point. In fact, it’s supposed to be some sort of genetic condition that may have been passed on to Colin. Yet Downey’s portrayal never gave any indication that Archibald has any ailment at all. I’m not saying he has to wear a prosthetic à la Quasimodo, but having nothing felt incongruous with the script.
M: I imagine it’s a bit of an awkward needle to thread, yet it went unexplained.
K: But back to the music!
M: Musically, there was so much to love in the show as a whole, Music director Amy Trimble deserves a big shout-out. There’s a lot of folk-song inspiration, and the effective orchestrations make a little go a long way. The orchestra, stationed far upstage, usually out of sight, was strong and well-synced. I also really appreciated the frequent use of the ensemble as a full chorus – there was great singing throughout.
K: That’s for sure. And costumer Heather Blair enhanced the garden motif by including an abundance of floral and nature accents in the ensemble’s wardrobe. The costumes were bright and ethereal.
M: All told, this Secret Garden is a charming production with plenty to enjoy.
The Secret Garden runs at the Spotlight Theatre (1800 Seventh Avenue, Moline IL) through April 19, and more information and tickets are available by calling (309)912-7647 and visiting TheSpotlightTheatreQC.com.
