Sophia Kilburg, Topher Elliott, Noah Johnson, Bradley Robert Jensen, and Krianna Walljasper in The Tales of Custard the Dragon
I enjoy experiencing new-to-me talent, but it’s cozy and comforting to see familiar faces at the theatre. I saw several on one chilly May day, warming me like a friendly mythical-creature’s breath, at the Circa ’21 Dinner Playhouse. That's where I saw The Tales of Custard the Dragon, 50 minutes of sweet, lively enchantment directed and choreographed by Kiera Lynn, with Bobby Becher serving as music director.
The John F. Kennedy Center for the Performing Arts commissioned this musical, which was adapted from two Ogden Nash poems, and features a book by Mary Hall Surface, music by Brad Ross, and lyrics by Danny Whitman. Who’s Ogden Nash? He was a writer known for his quirky wordplay. You may already know one of his poems in its entirety: “Candy is dandy, but liquor is quicker.” This wasn't coined by Gene Wilder’s Willy Wonka in 1971, but by Nash, in 1931.
At the Rock Island venue, the first familiar face belonged to Kimberly in the lobby – a Circa '21 employee and former coworker of mine. Then theatre owner Denny Hitchcock, my former boss, came down the stairs. We embraced and chatted for a few minutes. After I took my seat, five more familiar folks came onstage, portraying a little girl, her pets, and a couple of intruders – and hey, the story was also an old friend of mine! I didn’t realize I’d already read Nash's tale of an initially fearful, eventually brave reptile until the actors sang the idiosyncratic phrase “Realio, trulio, little pet dragon” in the first number. Do you remember? Here, “cowardy custard” is a classic English dig and character description meaning “fraidy cat.”
Noah Johnson portrays Custard, and by George, didn’t I see him in a lead role in Augustana College's The Skin of Our Teeth just two weeks ago? Indeed – he was rehearsing two demanding parts while wrapping up his final year in school. I’ve seen Johnson in five other productions, including as Dr. Watson in Baskerville on the Circa '21 stage last year. In this musical, he won my heart with his natural vulnerability and sincerity. No mugging or stereotypical children’s-theatre clowning here, and in his dapper ensemble of seafoam and mauve, he brings us along in both his dejected withdrawal and happy capering.
Another extraordinarily busy actor, Sophia Kilburg, plays Belinda, the owner of a little menagerie. She’s currently alternating in the role of Chava in the venue’s mainstage production of Fiddler on the Roof. As Belinda, Kilburg is captivating, energetic, and believable as a young girl living in an unbelievable world with her stuffed toys. (Through a clever bit, the cast makes the imagination aspect clear early on.) She’s sometimes a bit callous toward her adoring, timid dragon, but Belinda is a benevolent ruler in her princess dress and hennin (cone hat with veil).
Topher Elliott portrays Mustard the Dog, having mastered a good-natured, open-mouthed doggy grin. He’s attired in an English military/explorer manner (but no matching accent) with safari jacket, jodhpurs, high boots, and pith helmet with floppy ears. He also plays a menacingly amusing Pirate, in different garb, whose voice skews hilariously lower-class Cockney. Elliott’s been all over area stages, as well; by my count, in nine productions on four professional and community-theatre stages since 2023.
As Ink the Cat, Krianna Walljasper is boisterous and boastful in a black Victorian-style swimming costume, with a big pale blue bow befitting a kitty. The three furry mammals are all quite full of themselves, and Ink has the biggest ego and propensity to embellish. Walljasper, like the others, has a voluminous résumé, including playing May in two Junie B. Jones musicals and Signe in Church Basement Ladies (all at Circa '21), plus touring nationally with one of the latter's sequels. She produces an impressive amount of energy on stage.
Bradley Robert Jensen plays Blink the Mouse, wearing natty togs in gray hues, including a top hat with little round ears. I’ve seen his artistry more than I’ve seen him, for he magnificently costumes Circa '21's shows and others around the QC. Jensen is good under the lights, too – I’ve seen him in three prior productions, most recently in the Black Box Theatre's wonderful Ordinary Days last year. In this musical, he also plays wicked knight Sir Garagoyle, who menaces Belinda while expertly twirling an amazing black, spangled cape. (And if anyone knows capes, it’s Jensen.) He, too, has been extraordinarily busy, costuming this cast, the Fiddler peasants, military, and ghosts, and prepping for his next production.
Scenic artist Becky Meissen provides simple set pieces. Their rustic look blends well with her own silhouetted cottage backdrop for the mainstage show; plus, Anatevka's roughly rendered windows with lit Sabbath candles, hanging from battens, do double-duty for Belinda's imaginary adventures. Lighting designer Kendall McKasson bestows lovely bright or dim illuminations. And The Tales of Custard the Dragon's fantastic, beguiling cast are all adept singers and dancers, and I understood every word. Even if none of them are familiar to you yet, you'll likely savor everything about them.
The Tales of Custard the Dragon runs at the Circa '21 Dinner Playhouse (1828 Third Avenue, Rock Island IL) through June 20, and more information and tickets are available by calling (309)786-7733 extension 2 and visiting Circa21.com.
