Brigadoon at the Shaw Festival adds a touch of magic to this holiday season

The Shaw Festival production of Brigadoon by Alan J. Lerner and Frederick Loewe is a buoyant journey into a mystical and romantic bygone era. This version was revised by librettist Brian Hill in 2014 for the Goodman Theatre in Chicago, and The Shaw Festival previously performed a version of it in 2019. This production, running until December 23, goes down smoothly, showcasing a harmonious blend of storytelling and stellar performances, with a brightness and energy that make it a must-see this holiday season.

Set in a magical Scottish village that appears in the real world for just one day every one hundred years, Brigadoon is a classic tale of love, tradition, and the intersection of the ordinary with the extraordinary.The year is 1946, and the plot follows New Yorkers Tommy Albright (Stewart Adam McKensy) and his best friend Jeff Douglas (Kevin McLachlan) who, haunted by their war experience, are on a hunting trip in Scotland which doubles as a bachelors’ trip before Tommy returns to New York to be married. The pair wake up at sunrise to find a mythical village  that is not on any map has suddenly emerged from the mists of Scotland. Tommy and Jeff learn that, for the townspeople of Brigadoon, it’s the mid-18th century, and their magical status shields them from the strife of the outside world. But there’s a catch: if any resident of Brigadoon leaves the enchanted town, all of the townsfolk die. 

Romance inevitably ensues as Tommy and local lass Fiona MacLaren (Alexis Gordon) fall in love. Of course, there are complications because Tommy, though plagued with doubts, is already engaged – and even if that were not the case, how could this possibly work? But the biggest tension in the plot comes from Harry Beaton (Travis Seetoo), who is so miserable living in Brigadoon that he is desperate to leave. I won’t spoil what happens – but I will say that – in keeping with the juxtaposition of Brigadoon’s mythical, magical town with the war-torn real world it finds itself in –  the resolution of the plot juxtaposes romance and death. Though wrapped in gorgeous scenery and soaring song, the story proves a little more unsettling than we might expect at holiday time. 

That said, the cast is terrific. McKensy as Tommy Albright delivers a nuanced performance as he moves from weary and cynical outsider to believer in Brigadoon’s ”miracle”. His chemistry with Gordon is palpable, and the yearning in his rendition of the love song “There But For You Go I” is deeply moving. Gordon brings a charming combination of strength and vulnerability to Fiona. As always, her vocal performance (especially “Almost Like Being in Love” and “The Heather on the Hill”) is noteworthy, blending seamlessly with Fredrick Loewe’s hauntingly beautiful score. 

Other cast members shine in this production. McLachlan is a comic standout as Tommy’s sardonic best friend Jeff. His quick wit and skepticism provide a perfect counterweight to Tommy’s romanticism. Meanwhile, Kristi Frank chews the scenery as sassy Meg Brockie who has eyes for Jeff. Her anthemic rendition of the drinking song “My Mother’s Wedding Day” is a highlight of the production. And Claire Jullien as the stoically wise Mistress Lundie the school teacher (a simple but welcome shift from the usual Mr. Lundie) brings a subtle comedic touch without overshadowing the story’s more poignant moments. 

A strength of the production is the dance numbers choreographed by Linda Garneau. The ensemble executes these with a precision and energy that are infectious and inspiring. These dances – one great example being the sword dance – are narratives in themselves that tell rich stories of love, community, and tradition. Fiona’s sister Jean (Madelyn Kriese) provides one of the production’s standout moments in her balletic dance solo, which accompanies “Come to Me, Bend to Me”, sung with a deep yearning by Jean’s fiancé Charlie Dalrymple (David Andrew Reid). A talented tenor and on-stage dynamo, his “I’ll Go Home With Bonnie Jean” is also a showstopper. 

It is worth noting that the diverse casting elevates this production. It’s 2023, so a canonical musical that is set in post-WW2 New York City and a mythical Scottish village risks feeling like an anachronism: outdated and stuck in a narrow, traditional white perspective. Instead, the representative ensemble energizes the story and broadens its scope and sentiments – connecting the timeless mysticism of the story to the reality of our time.

Under the direction of Paul Sportelli and Associate Music Director Ryan deSouza, Loewe’s beautiful score is executed with precision and emotion. And Corwin Ferguson’s projection design and Pam Johnson’s set design have created a misty, rustic storybook aesthetic that makes the charming world of Brigadoon feel at once ethereal and rooted in Scottish tradition. 

Directed by Glynis Leyshon, The Shaw Festival’s Brigadoon captures the essence of this classic story and skilfully, softly modernizes its execution – with a sharp eye for detail and a clear fondness for the material. The production’s outstanding performances, high production values, and thoughtful direction should be a siren call to theatregoers. Like the town of Brigadoon itself, picturesque Niagara-on-the-Lake is festively decked out this time of year. 

Come see it – and for a short time be transported to an even further world by this feel-good musical. 

Brigadoon is on stage until December 23, 2023. Reserve tickets at shawfest.com.

© Arpita Ghosal, Sesayarts Magazine, 2023