So, how 'bout that October, huh? Some kooky month. Halloween and such. Oktoberfest and so forth. Seems the month was active enough to steal my attentions away from things theatrical, as this is my first communiqué from the dark side of the footlights since late September. Thankfully, a taste of the (sort of) macabre lingers in space #134 of the Crestwood ArtSpace, the former Crestwood Plaza, courtesy of Cannibal!: The Musical. I say “sort of” macabre because, though the core subject matter is indeed man-on-man noshery, what's truly afoot at the ArtSpace is a wagon load of funny. In what's becoming something of a meme for this column, I must disclose in the prelude to yet another review of a horror-themed musical that I am an unabashed fan of the source material, in this case, the original film version of Cannibal!, written and directed by Trey Parker of South Park fame, released by Troma Entertainment in 1996. I own the DVD. If folks around town keep putting on creepy, dark musical comedy, I may have to launch an ancillary column just for those reviews, 'cause I'll go see ever'dang one of 'em as long as my blogly overlords continue green-lighting the stuff! In any event, let's check out this Cannibal!, a truly independent local production.
What do I mean with that last line? Simply that this show has no affiliation with a larger company, and was adapted from the film by Suki and Brian Peters, the play's director and producer, respectively. A program note indicates that the production arose from the sheer will to see it happen, and the availability of space. This points up why I want to keep beating the drum of the Crestwood ArtSpace, and any open arts and performance space around town: not to take anything away from any of the fine theater companies in St. Louis, but it can only enrich the performance landscape around these parts if folks with a passion and a concept can cobble together a show on their own if they want, without going through channels, waiting for a slot in a season, pleasing subscribers, etc. It's the theater equivalent of the punk-rock basement/garage/storage space shows of the '80s, and I'm all for it. All it took was a grave ten-year mishandling of our economy to collapse the retail market and leave hulking masses of commercial real estate vacant. Yay!
Cannibal!: The Musical was filmed in 1993, after a film-school project of Trey Parker's, the trailer for a fictional film called Alferd Packer!: The Musical, developed enough interest that Parker had to go ahead and shoot the whole thing. Since Parker's subject was characteristically Colorado-centric, when Troma picked up the film for distribution they re-titled it, rightly guessing that not all schoolchildren outside the Rockies know the tale of Alferd Packer's very real, really troubled mining expedition into the Colorado Territory. The facts form the loosest sub-structure for the play's goings-on, but let's nail down the key points. Winter 1873, Alferd Packer leads a band of gold-seekers toward Breckenridge, falsely claiming familiarity with the area. They run out of supplies, but find salvation in a band of Utes led by Chief Ouray. He cautions against pressing on in a mountain winter, Packer ignores. Packer's subsequent confessions differ, but essentially men die and are consumed until he alone stands. His tales of self-defense are not believed when he emerges in Saguache, and he is jailed. He escapes. Nearly ten years later, he's found, launching fifteen years or so of trials, appeals, reviews and general legal silliness, but essentially: Alferd Packer is a convicted cannibal. Oh, and a real-life reporter of the day, one Polly Pry, plays a role whose importance varies in different histories, though the script builds her into a crucial player.
Stifle the back-story, Baker, get to the freakin' show! Okey-doke! This production is several tiers above Mickey and Judy puttin' on a show at the ol' barn, that's certain. The musical grafts onto the framework of history several traditional musical theater tropes, tweaked for maximum comedic effect. Packer (Keith Parker) loves his horse, Liane (Betsy Saule, who possesses perhaps the sweetest “oops, I farted” face on the planet). I mean he lo-o-o-ves his horse. A bunch. He sings an awesome song to this effect, “When I Was On Top of You.” It comes off every bit as funny as it sounds. Keith Parker (no relation?) is the key casting success of this show. He's a very strong vocalist, which not every featured singer here can boast, but moreover, he gets the tone of the show and his character. He's a bit fey and more than a little cowardly, but given to smoldering, novel-cover posing. A marvel of understatement in a show that could easily tilt into overplayed zaniness. The principles all really seem to buy in to their characters' inherent real-ness, which really helps sell the wacky goings-on, and they've done well to take some cues from the flick, while never straying in to the land of blatant imitation. Not everyone goes for the judicious underplay, especially in group scenes, where some of the accessory personages seem unable to stop mugging, gesticulating and other assorted business which all amounts to the writ-large theatrical no-no of “stealing focus.” Overall, however, this is a remarkably well-paced, well-sung, tightly blocked show with nifty staging and I gotta shout out that the costumes show a remarkable fealty to those in the movie—a nice touch for a fan. Also fun to watch: the Stage Ninjas (Morgan Hatfield and Valleri Dillard) who, in addition to being actual working members of the crew, humorously insert themselves into the action a time or two. If I may pick nit: an hour and a half with no intermission is cool and all, but maybe give the seats a couple of inches in between. Tight squeeze on a hard chair. Owee.
My numb bum notwithstanding, I'm urging you to go see this show.... Way. I, a fan of the original, had a blast. My wife, coming in tabula rasa, had a blast. The songwriting prowess that would eventually see “Blame Canada” from the South Park feature film nominated for an Oscar is on display here in all its catchy, goofy, oft-offensive glory. In the hands of this dedicated, devoted cast, crew, director and producer, it amounts to an awful, I mean awful, hideous, unspeakable spectacle that you totally owe it to yourself to go check out.
