Big Fish
Book by: John August
Music & Lyrics by: Andrew Lippa
Directed by: Scott Taylor
Music Directed by: Joey O'Reilly
Choreographed by: Becki McDonald
Produced by: Theatre Frisco
Audience Rating: PG
Running Time: 2 hours and 30 minutes, including one 15-minute intermission
Accessible Seating: Available
Hearing Devices: Not Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Comfortable
Audio/Visuals To Prepare For: Mild Adult Language and Potential Fish Crossfire
Reviewed by Troy D. Murray
Few theatrical works hold a place in my heart quite like Big Fish, as it is the exact production that first introduced me to the wonder of musical theater back in high school. Sitting in Theatre Frisco's black box theatre for this performance marked my fifth time experiencing the show, and to this day, it remains one of my all-time favorite musicals. Its deep sentimentality and touching familial message resonate deeply with me, constantly evoking the memory of my late grandfather, who raised me to view the world with the very same imagination and optimism that define this story. For this reason alone, it will always be a work that I revisit with immense love and deep appreciation.
Guiding this small-cast edition with an inventive touch, Director Scott Taylor coordinates the staging in a way that fills the space effortlessly. His vision brings the audience directly into the story in a manner that feels both immersive and delightful, allowing characters to pop out from every corner as if stepping right out of a picture book. Adding incredible movement to the narrative, Choreographer Becki McDonald delivers a wonderfully coordinated suite of dance numbers. The standout routine that particularly caught my eye was "Be the Hero," as her staging of the Alabama Stomp stands as by far the sharpest and most intricate rendition I have ever witnessed. Furthermore, the mermaid lifts lend a soft, weightless levity to the stage, while the gorgeous ballroom dancing on display during Will and Josephine’s wedding scene highlights refined grace.
Under the skillful musical direction of the talented Joey O'Reilly, the live ensemble sounds vibrant and wonderfully full. Conducting the 5-person band, Joey O'Reilly weaves a rich soundscape that gains extra flair through unique instrumentation like the mandolin and banjo. The musicians bring immense intensity to high-stakes numbers like "This River Between Us" and "Be the Hero (Reprise)." Equal praise belongs to O’Reilly's quick fingers on the piano, as his lightning-fast triplet runs in numbers like "Stranger" are genuinely impressive to hear.
The technical design elements elevate the production at every turn. Lighting Designer Josh Hensley makes wonderful use of color palette blending and selective uplighting throughout the evening. His lighting scheme for The Witch’s scene is especially memorable, perfectly crafted to feel eerie and fright-inducing. As a scenic designer, Hensley utilizes a wooden plank backdrop that serves as the perfect scene design for the space, functioning as a boardwalk that invites the audience to walk down the pier into this magical journey.
The audio mixing across the house is phenomenal thanks to the work of Sound Engineer Keyes Larson. The vocal effects on Edward and Karl, including prominent echo inflections and prominent reverb in numbers like "Out There on the Road" and "Time Stops", make for a pleasant audio experience.
Properties Designer Rachel Velasco provides expansive prop work, ranging from the enormous clipboard carried by Amos (complete with fun easter egg names) to the sea creatures that emerge from the darkness. One hilarious bit at the top of the show even resulted in my plus one taking a direct hit to the nether region from a projectile fish! It is safe to say he won’t be deep-sea diving anytime soon.
Costume Designer Alison Kingwell completes the visual world with an inventive assortment of garments, including license plates attached to Karl’s extended robe, leafy bog-inspired attire for The Witch ensemble, a mermaid hairdo straight from the Great Barrier Reef, and a stunning, sparkly gown for Sandra. I have no doubts that Kingwell had her work cut out for her when taking on this show, but she handles the wardrobe selections with great detail and astounding results.
Tasked with constant rapid quick changes, the versatile ensemble certainly has no time to rest as they switch seamlessly from Ashton, Alabama townsfolk, to barkers, to quirky circus performers. Living up to his character title with impressive physical feats, Ki’Jon Robinson (Strongman) brings great presence to the ring. Kyleen Milton (Little Lamb) proves to be a bubbly and cheerful addition among the Lambs of Alabama. Sinan Beskok (Dr. Bennett) is a delight to watch as he smoothly swaps from a sympathetic medic into a strongman performer of his own, while Bailey Lund (Mermaid) delivers a performance that is as elegant as it is alluring.
Exhibiting sweet romantic charm, Sydnee Hawkins (Jenny Hill) is incredibly endearing as Edward’s high school sweetheart. She exhibits genuine tenderness and deep devotion for her “Eddie,” carrying her vocal performance with a delicate balance of softness and vibrato in numbers like "Out There on the Road." Playing the circus boss, Landry Beckley (Amos Calloway) gives a tasteful homage to the Danny DeVito film portrayal. By infusing a gravelly undertone into his voice, Beckley makes his character sly and conniving by nature. His performance of "Closer to Her" is an exceptional treat to be-howl-d.
Commanding the stage with towering presence, Shaun “Willow” Breland (Karl the Giant) possesses a rich, authentic bass voice that booms and echoes throughout the auditorium. He is incredibly impressive on a pair of stilts, not only keeping up with the brisk choreography but traversing the expansive space with remarkable grace. Beside him in the supernatural realm, Andi Allen (The Witch) is enchanting in her performance. Her character work brings to mind Ursula from The Little Mermaid, albeit slightly more endearing when conversing with Edward Bloom. She is mystifying in her execution of "The Witch," and her color-changing crystal ball adds a lovely touch of whimsy to her portrayal.
Bringing comedic friction to the story, Adam McMahon (Don Price) and Clayton Truman (Zacky Price) portray the slapstick duo opposing Edward at every turn. McMahon’s southern accent is well polished, and he captures jealousy and quiet disdain toward Bloom with precision, making his Act II emotional arc a treat to witness as his grimace turns to a smirk of approval. Meanwhile, Clayton Truman displays exquisite physical comedy as Zacky, garnering massive audience sympathy during his hilariously failed attempts to juggle and assert himself in social situations. I feel you, Zacky, I feel you.
Capturing youthful wonder, Theo Phelan (Young Will) exudes innocence as Edward’s son. His genuine desire for knowledge and deep fascination with Edward’s tall tales help the audience track his emotional inner conflict as he comes into his own. Supporting her fiancé on his journey, Kelly Hudson (Josephine Bloom) cares deeply for Will and helps him see his father for the charming patriarch he is. Hudson carries herself with warmth as a soon-to-be mother figure, and her ballroom prowess in her wedding dance is well polished.
Making a stunning leading lady debut at Theatre Frisco, Christine Phelan (Sandra Bloom) excels from start to finish. Having previously enjoyed her performance as Sally in Garland Civic Theatre’s production of Follies, it is fair to say I am a fan of her work. She massively wins over the audience from an emotional standpoint with her rendition of "I Don’t Need a Roof," delivering a tender performance that proved to be a tear-jerker for many in attendance. I must also note that the red hair is a lovely look on her!
It is always a distinct pleasure to see Austin Jon Hines in action on a stage, and he does a stupendous job bringing the role of Will Bloom to life. Hines is truly worth the price of admission in this production. His soaring high notes ring and resonate in the rafters during "Stranger," and his raw emotional strife is on full display in his heartbreaking performance of "Be the Hero (Reprise)." I cannot give enough credit to Hines’s character work. He evokes sympathy, disdain, endearment, and pure devastation out of the crowd with the greatest of ease, even when he is not the center of attention. To put it bluntly: I love his work and will always be a fan of his.
At the center of this expansive narrative is the captivating Cooper Powell (Edward Bloom). Vocally, Powell sounds remarkably like Norbert Leo Butz. After further inspection, I can confirm that when I spoke with him after the show, it is simply his natural singing voice! Breaking a sweat as he drives the story forward, Powell brings immense stamina and warmth to the larger-than-life protagonist. Powell's duet with Hines on "This River Between Us" serves as a climactic highlight of the evening, blending their phenomenal talents into a powerful moment. I will patiently wait in anticipation to see Powell in a future production, as there certainly is magic in the man.
Those looking to be the hero of their own story should pay a visit to the Frisco Discovery Center, as the show runs for two more weekends, closing on Sunday, August 9th. As a die-hard fan of this musical, I can happily report that money spent toward a ticket to this production is money well spent.
Tickets can be purchased at https://www.theatrefrisco.com/.
Now you know, so go see the show!
Troy
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