Big River

Reviewed by Holly Bartges

Big River equals Big Show equals eye-opening experience.

As soon as the first song struck the second chorus, the first thought to flash through the mind is why didn’t someone think of this a long time ago? Following the subtle intricacies of the staging, the second thought to roll through the mind: we’re experiencing the result of a long creative process. The third thought to splash through the river current was: What are the implications of this process and how far can it go?

Christopher J. Hanke as Tom Sawyer and Tyrone Giordano as Huck Finn in a scene from the first National Tour of The Deaf West Theatre Production of Big River, The Adventures of Huckleberry Finn. Photo by Joan Marcus

Big River, inspired by Mark Twain’s Adventures of Huckleberry Finn, put to music by Roger Miller comes to life at the Buell Theatre closing all too soon Sunday, May 22. More than just a musical, presented by the Deaf West Production Company, it features hearing, hard of hearing and deaf actors. This big concept, about a big river, adds depth and dimension to a story already seeped in muddy waters of separation, belonging, loyalty, racial torment, and political division. The epitome of story telling through English, American Sign Language, song, and dance, the entire production of synchronized choreography digs deep into the heart, soul and mind.

Enlarged pages of an early Twain edition of Huck Finn, dominate the stage, with Daniel Jenkins wearing the white suit Twain was noted for, and the humorous, poignant humor Twain perpetuated. Jenkins played the role on Broadway, and for a 1985 Tony Nomination play Huck Finn on Broadway in 1985. He wears the Twain’s white suit with tremendous appeal. On stage for the majority of the production, watching his story spring to life before his eyes, Jenkins also supplies the spoken word and song for Huck Finn. With energy that goes through the roof, Tyrone Giordano signs the Finn character. He knows the role well. Nominated for the Drama Desk Award in 2003, Jenkins played Huck on Broadway. With twain sometimes in the shadows, sometimes close to Finn, Giordano’s animation as the young growing up the hard way Finn, melded beautifully with Jenkins voice.

When Huck’s father learns of money Huck has, Pap appears with a scheme. The role of Pap played by Troy Kotsur and Erick Devine if it hasn’t already, should become a comic classic. Every move is synchronized, every move choreographed, every move compliments each other. One takes a drink from his jug; the other wipes his mouth with an exaggerated swipe of his sleeve. When he (they) sing their Gov’ment song the comedic timing between the two is breathtaking.

Breathtaking describes the entire production. Each and every actor work as one unit for this production. Chemistry and synchronization for all the actors must work hand and glove.

On opening night the sound needed some tweaking to produce surround sound, but that is such a minor aspect considering the enormity of the accomplishments, it’s hardly worth mentioning.

The working together of the hilarious con men, Duke (Kevin Massey) and King (Devine), is larger than life, with their con games pulling the wool over the eyes of several. James Judy supplied the voice of Duke with the staging subtle. Sometime Judy stood in the shadows, sometimes with his back to the audience. It didn’t matter. It worked.

Jeff Calhoun who directed Brooklyn at the Denver Civic creating and molding it on its way to Broadway, directed and choreographed Big River. With a large cast or actors from different worlds, he aptly created one universe, giving the beloved story new life, and pointing into a new horizon. If it happens on stage once, it can happen again. If it happens on stage, what are the implications of it happening in real life? If it happens with the hearing and deaf worlds, what are the implications for the mentally and physically challenged? The only element that separates is the ingrained concept of it can’t be done. Deaf West Theatre Company says differently.

When Huck’s and Jim’s world collides and they sing Muddy Water, on the raft with a wide vertical blue cloth hanging behind them representing that big river, the ramifications of racial, class, political, and ad infinitum separation stand straight, tall, big as life and twice as nasty. David Aron Damane embodies the epitome of the character of Jim with his fears, humiliations, dread, and longing to be reunited with his wife and daughter sold underneath his nose, aching to be a free man speaks volumes, hopefully not on deaf ears.

Big River is simply a marvel, a breathtaking awesome experience. Would that it had a longer run. Would that it can return to the Buell. Would that the implications of this ground-breaking experience continue to ripple through the waves of the mighty big river into other productions. Would that the ringlets of the ripples seep into our lives. Big River is the beginning of some wondrous possibilities.