REVIEW: HTI’s “BIG FISH” REELS YOU IN WITH ITS STORYTELLING PROWESS

*Sometimes, the most seemingly ordinary person can have the most extraordinary life…*

Based on the celebrated novel by Daniel Wallace and 2003 film directed by Tim Burton, Big Fish tells the story of Edward Bloom, a travelling salesman who lives life to its fullest. Edward’s incredible stories thrill everyone around him — except his son Will. As Will is preparing for fatherhood himself, he becomes determined to find the truth behind his father’s epic tales. It’s a daunting musical feat and Hamilton Theatre Inc finds theatrically inventive ways to reel audiences into its central love story. In this case, it isn't just boy-meets-girl but father-hooks-son.

Director Matt Moore and the Big Fish production team have focused on invention, not excess, which for the size of the stage and grandiose essence of the story seems to be the primary creative concern. From the tight choreography by Katlyn Alcock, which is quick and clever and never over the top, to the storybook style set design where the centre stage opens up to reveal different scenes and characters, lends itself well to the narrative structure of the show. All the costumes (designed by Jenn Helsdon and Hope Wickett) are creatively constructed, vibrant and tell their own stories with each character introduction.

Musically, the score by Andrew Lippa is beautiful and the HTI band, with proficient music direction by Jennifer Ferreira, fill the stage without overpowering it. Lyrically however, Lippa’s efforts are more literal than imaginative, and for the majority of the show, the songs simply rehash dialogue the audience is already aware of. Sadly, this is one of the weaker elements of the musical itself and while this isn’t the fault of the production company, it is up to the performers to draw our attention away from the less memorable songs and focus, instead, on the characters and their journeys. Thankfully, this cast has talent, humour, charm and storytelling prowess in abundance.

Our protagonist Edward Bloom is played with gusto by Glen McCann, who plays both the older and younger versions of the character and is a wise casting and creative decision by Moore. McCann has a rich and warm tenor and his Alabama accent never falters even when singing. His dreamy dynamic plays off his no-nonsense son Will (Penny McKay as the younger version who charms us with their serious face and skeptical attitude and Older Will portrayed by triple-threat newcomer John Connolly). McCann carries this show and his presence is always felt even during his rare moments off stage. A powerful and heart-felt performance from start to finish.

John Connolly as Older Will is the big catch of this production. As mentioned, the term “triple-threat” is not used lightly to describe his efforts on stage. A strong, captivating actor with impressive vocals, particularly in Stranger, and equally impressive dance moments in The Showdown in the second act. Connolly’s frustrations, tender-heartedness and sorrow are authentically felt and help to ensure the overtly sentimental nature of the musical stays grounded in reality when it needs to be the most. Bravo.

Edward’s love interest is portrayed by Fiona Roossien, who is charming as wife and mother Sandra Bloom (and, like McCann, plays both younger and older versions). She dances up a storm with Alcock’s choreography in the numbers Three Lambs from Alabama and Red, White and True (forming a delightful trio with Kindrey Krol and Jasmine Mino) and her standout moment in the heartbreaking I Don’t Need a Roof showcases her natural ability to act through song. While most of the songs in the show aren’t super memorable, this one definitely sticks with you.

Big Fish also impresses with its larger-than-life ensemble who play several characters from townsfolk to circus performers. This show wouldn’t thrive without their collective efforts and dedication to their roles. A few highlights: Allen Helsdon gives a wonderful performance as Amos, the scoundrel ring master with a hairy, I mean, scary secret. Aramenta Sobchak thills us with her effortless belting and otherworldly performance as The Witch and Noun Holloway redefines “stage presence” with humour and heart as Karl the Giant.

Hamilton Theatre Inc’s Big Fish has lovely sequences throughout and earns some sniffles at the end. There’s a real sense of respecting the nature of stories and the people who tell them, whether we truly believe them or not. A lot of loving craftsmanship has gone into this musical from everyone involved, and it delivers satisfying entertainment overall. It’s a unique love story being told and it succeeds in capturing its audience. Go catch Big Fish at Hamilton Theatre Inc. running until May 24.

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