Porthouse Presents a Magical, Mystical and Whimsical ‘Brigadoon’

“If you love someone deeply enough, anything is possible… even miracles.”

This line of dialogue serves as a fitting summary for “Brigadoon,” a classic written during the Golden Age of musical theater that is now being staged at Porthouse Theatre. It is romantic, it is idealistic and it is charming. It is not, however, all that logical.

The plot follows Tommy and Jeff, two American men on a hunting trip in the Scottish Highlands. After getting lost in the mist, the two friends stumble upon Brigadoon, a village that appears for only one day every 100 years. The village is preparing for a wedding, which they invite Tommy and Jeff to attend. Tommy quickly takes a liking to the bride’s sister, Fiona, who shows Tommy around their town. At the end of the day, Tommy has a decision to make: will he return to the real world, or stay with Fiona in the enchanted village of Brigadoon forever?

The show opened on Broadway in 1947, propelling Alan Jay Lerner and Frederick Loewe–two classic icons of musical theater–into prominence. Just a few months ago, a reimagined adaptation of “Brigadoon” premiered at the Pasadena Playhouse. The adaptation by Alexandra Silber modernized the setting and provided greater emotional depth to the characters, all while leaving the original music intact.

Porthouse Theatre’s show under the direction of Terri J. Kent is decidedly not the updated Silber script, but a faithful rendition of the classic–and there is much to be loved. There is a beauty in staging an iconic, classic show: the idealistic portrayals of wholesome community and whirlwind romances are charming; the music is stylistic and catchy, as well as able to instantly transport to another time.

While it can be appreciated for its history and impact, it is also important to view “Brigadoon” from the lens of the present. And the present finds the original story shaky.

The “miracle” that protects the village of Brigadoon from the outside world lacks logic. When the people of Brigadoon go to sleep, their town is hidden from the world, and when they wake, a century has passed. This miracle began 200 years ago, which is only two days in Brigadoonian time, yet the villagers accept the miracle as a commonplace rather than a new, day-old novelty. Only one villager is unhappy with the miracle–for no one in Brigadoon can leave without it shattering the magic–but again, this disgruntlement is born after only two days. The entire system is handled with varying levels of secrecy, a lack of curiosity and an origin that is puzzling. And, in the end, the established rules are foregone for the sake of a happy finale.

Yes, “Brigadoon” and its magic are fictional, but even fictional narratives need to have and abide by their own logic and rules in order to be effective storytelling vehicles. The show touches on the power of true love and the value of community, but it also explores reality versus illusion and modern cynicism. Perhaps I’m a cynic, but I prefer my magical narratives with fewer plot discrepancies.

Put those logical leaps aside, however, and Porthouse is sure to sweep you away.

Miriam Henkel-Moellmann plays a sweet Fiona. Henkel-Moellmann’s operatic voice is stunning, and her control over her soaring vocals is impeccable. Her number “Waitin’ for My Dearie,” in which Fiona describes waiting for her true love, showcases Henkel-Moellmann’s dexterity with classic tunes. She is well coupled with Matt Gittins, who plays main character Tommy Albright with a similar level of vocal prowess and acting ability. Gittins shines in his solo number, “There But For You Go I.”

The believability of Tommy and Fiona’s love is not entirely convincing–mostly due to the nature of the absolute whirlwind of a timeline–but it is cute. More convincing is the love between Fiona’s sister, Jean, and her beau, Charlie, played by a starry-eyed Parker Lamy and doting Dallas Craig, respectively. Craig is incredibly well-cast as the soft, swooning romantic lead, and his presence, dancing and voice make him an actor to watch.

Meg, the ditsy, sex-hounding villager who doesn’t want to take no for an answer, is one of the characters who received a major reimagining in Silber’s adaptation–for obvious reasons. While Meg’s behavior is problematic, Gannon Hollar portrays her with endearing likability. Likewise, Jeff Douglas, Tommy’s alcoholic, nonplussed friend who is targeted by Meg, is played with adept comedic timing by a hilarious Chris Richards.

Dressed in all manner of plaid, vests and billowing skirts by Sarah D’Anella, the ensemble and supporting cast twirl and leap with entertaining skill to Martín Céspedes’ lush choreography. Aided by the live orchestra under the musical direction of Jennifer Korecki, they also provide exquisite supporting vocals. It all takes place on Tony Hardin’s two-tiered set that features mossy, stone ruins and a floor painted to resemble bits of purple heather, a detail highlighted by Jakung C. Seo’s ethereal lighting design.

“Think? What good does thinking do? If I thought about it, it wouldn’t make any more sense than the miracle.” This line is spoken by Tommy in Act II as he attempts to describe his sudden love for Fiona. There is much in “Brigadoon’s” narrative that wouldn’t stand up to today’s standards, but there is also fun to be found in revisiting a classic, especially when it is performed with immense skill. My advice is to approach “Brigadoon” with Tommy’s words in mind: don’t think about it too hard–you’re better served if you just let the whimsy sweep you off your feet.

“Brigadoon” runs through August 9 at Porthouse Theatre, 3143 O’Neil Rd., Cuyahoga Falls. Visit kent.edu/porthouse or call (330) 672-3884 for tickets, $18-50.