Micah Bernas, Vivian Browne, Adam Cerny, and Hanna Marie Felver in Charlotte's Web
E.B. White’s classic children’s book Charlotte’s Web proves that even the smallest message can leave a lasting impression – especially if it’s written in spider silk.
The Circa ’21 Dinner Playhouse is spinning the tale of Wilbur and Charlotte once again in a stage adaptation by Joseph Robinette. Director Bobby Becher’s production is specifically tailored for a young audience, blending playful humor with important lessons about friendship, change, and the power of words. Wilbur (Vivian Browne) is a wide-eyed pig facing an uncertain future. His newfound friend Charlotte (Marion Stenfort) is a clever spider who hatches an ingenious plan to help save him. With the help of friends including Fern (Hanna Marie Felver), the farmer’s compassionate niece, and Templeton (Micah Bernas), a rat whose moral compass points primarily toward his next meal, Charlotte sets out to prove that Wilbur is, indeed, some pig. We went to the afternoon performance on Saturday, March 28.
Kitty: There’s something magical about experiencing theatre from a child’s perspective. Saturday’s audience was full of very eager young theatregoers who were clearly delighted by the show.
Mischa: It was especially interesting to see which moments they particularly reacted to. Possibly the most exciting one was when Wilbur tried to run away, and sprinted back and forth through the aisles, brushing past various audience banks, with Homer (Adam Cerny) and Lurvy (Bernas again) in hot pursuit. Come to think of it, the energy and enthusiasm of that scene encapsulated the show at its best for me, too!
K: I love it when directors step outside the box – or the stage – with their blocking. And for a children’s show especially, that’s a must. This group came alive, cheering Wilbur on and laughing raucously when he found a less-than-convincing hiding place beneath the goose (Felver). Templeton was also a huge hit with them.
M: For sure. And Bernas leaned into that character portrayal very well with his accent and physicality. Nearly all the cast members played multiple parts, and they did a good job of clearly defining each one – the goose and gander (Kelsi Ford), for instance, had idiosyncratic waddles and agitated energy that set them apart.
K: The costumes really helped with that, too. Bradley Robert Jensen’s designs were creative without being restrictive. The animals were all dressed in human clothing with distinctive species-specific elements. Wilbur wore pink overalls and pig ears; Templeton sported a tailcoat complete with a long rat tail.
M: Browne, playing only Wilbur, didn’t have to shift between roles; instead, she provided an excited and engaged focal character, anchoring the entire story really well.
K: By contrast, and unfortunately, I felt let down by Stenfort’s Charlotte, who came across as kind of emotionally detached, almost indifferent. I think Stenfort successfully captured Charlotte’s competence and composure, but there wasn’t a strong sense of warmth or maternal affection toward Wilbur, and that’s really what makes the character so beloved. Without that emotional center, Stenfort’s portrayal felt a little hollow.
M: On the other hand, she did bring out a beautiful singing voice for the serene, almost liturgical melody she wove as an accompaniment to her literal weaving of messages in her web. Those sequences were quite entrancing!
K: The web itself, fashioned with rope, was pretty impressive, too.
M: It was the most noteworthy part of designer Becky Meissen's set, which neatly, and with just a few moving pieces, represented the story's various locations, from the inside of the barn to the state fair.
K: The set was interesting because it’s clearly meant to blend in with the set of Circa’s current mainstage production Honky Tonk Angels, which uses the same rustic wood materials. Since the shows are running concurrently, a lot of the set elements, even the band instruments, from HTA were still onstage, but camouflaged with flats or drapes. I don’t think the kids minded.
M: Enhancing the physical setting, there were also some nice lighting and sound effects – by Kendall McKasson and Dylan Dutro, respectively – that extended outside the stage area itself, making the audience briefly feel like they were in a thunderstorm and a fireworks show.
K: I liked that fireworks effect a lot. It was simple but surprisingly fun.
M: It was humble but radiant? (Wink, wink!) I think you were grimacing a bit over one technical issue, though?
K: Ugh. Yeah. There were a few bits of offstage dialogue that I think were pre-recorded, and the sound quality wasn’t great. At least, they came across kind of garbled and didn’t match the actors’ live voices. It’s a minor thing, but a shame because the performances were great – just undercut a bit by the tech.
M: As my final comment on the show overall, I wanted to mention that since the play closely matches E.B. White's storyline, it deals, naturally and forthrightly, with the topic of death, beginning with the way Fern’s compassion initially saves the life of Wilbur, the runt of the litter, and continuing to the end of the show. Without giving anything away, in case you don’t know the plot already, let’s just say you might want to have at least one handkerchief handy.
K: Maybe two. It might be good to have a spare. Though I will say that you might need the second one for some happy tears. To quote Charlotte one more time, the show is pretty terrific.
Charlotte's Web runs at the Circa '21 Dinner Playhouse (1828 Third Avenue, Rock Island IL) through April 11, and more information and tickets are available by calling (309)786-7733 extension 2 and visiting Circa21.com.
