Powerful Flow Spokane Theatrical Group’S ‘Big River’ Rises To A High Level Of Musical-Comedy

“Big River” Friday, July 23, Spokane Theatrical Group, The Met

The Spokane Theatrical Group does only one show a year, but let me tell you, they do it right.

This summer’s offering at The Met, “Big River,” is a first-class production of a show that occupies a special niche in musical theater. This is an adaptation of one of the most American of all novels (“The Adventures of Huckleberry Finn”), with the most American of scores (by the late country star Roger Miller), for the most American of all theatrical genres (the musical-comedy). I’ve always loved “Big River,” and after seeing this production, I love it even more.

Under the direction of Troy Nickerson, Twain’s tale of racism and freedom is filled with both humor and dignity. The humor is everywhere, in the boyish language of Huck, in the goofy antics of the Duke and Dauphin, and in the hick tobacco-chewers who inhabit the shores of the Mississippi.

But the dignity is there, too, in the determination of Jim to win his freedom, and it’s also there in Huck’s heartfelt and innocent desire to do the right thing even if everyone else says he’ll go to hell for it.

Nickerson gets these themes right, but he also gets all of the show-biz stuff right. Nickerson, who may well be the most talented all-around theater artist in Spokane, is a master of the big production number, as we see in the very first scene.

The show isn’t 10 minutes old before the stage is filled with townspeople, judges, scruffy river rats, preachers and various other icons of respectable American society, circa 1850. All of them are moving, singing, shouting, imploring and confronting Huck Finn with the musical question: “Do You Wanna Go to Heaven?”

It’s a rousing number, choreographed by Nickerson with grace, skill and attention to detail. Not only does it establish Huck’s character and his moral dilemma, but it also establishes a thoroughly professional tone for the evening’s entertainment.

The Spokane Theatrical Company is only semiprofessional (the leads are paid, but not the rest of the cast), but this tone of professionalism is sustained all the way until the final bows.

Patrick Treadway, as Huck Finn, deserves a huge portion of the credit. His Huck is gentle, kind, sweetly mischievous and thoroughly lovable. He is perhaps a more childlike Huck than others would play him, which is ironic because Treadway probably has a couple of decades on young Huck.

But Treadway has a way of making us believe that he’s a 15-year-old kid and one who is true to Twain’s vision, too.

The other standout is Bryan Jackson, who is nothing short of brilliant as Jim, the runaway slave. Jim is illiterate and superstitious, but Jackson’s Jim has a powerful reserve of will and of strength. The scenes between the two of them crackle with intensity, and so do their numbers together, “Muddy Water” and “River in the Rain.”

The cast is huge, more than two dozen, so I can’t mention all of the people who did good work. But I have to single out David Gigler, who was both frightening and funny in dual roles as Pap and The King; Stuart McKenzie as the nervously antic Duke; and Tom Armitage in a variety of comic character roles.

The entire ensemble was impressive, energetic and well-rehearsed. Many made the most of their opportunity to shine, including Ricky Martin and Jarrott Moonitz, who performed the hillbilly number “Arkansas” as if launched around the stage on a set of springs.

Set designer Peter Hardie created a stage of docklike platforms and landings, with a wooden raft in the middle at a raked angle. The raft pivoted, as if swept by the Big River’s currents. The painted river backdrop changed colors and moods, depending on the scene. The entire design was an elegant and ingenious solution to what you might call The Met Problem. With little or no backstage space, one set must serve every purpose.

Roger Miller’s music is utterly distinctive, utilizing country, gospel, blues and bluegrass idioms to great effect. The five-piece ensemble - musical director Carol Miyamoto, Darin Kamstra, John Hart, Lydia Newell and Eric Gruber - made Miller’s music sound better than ever. “Big River” continues through Sunday. Call 325-SEAT or 1-800-325-SEAT for tickets.