Hale Centre Theatre: Big Ups for 'Big'

Seeing a production of "Big: The Musical" in the year 2008 has an extra layer of relevancy for me that I share only with other people born in the mid-1970s. You see, the movie "Big" was released when I was about 13 ? the same age as its protagonist, Josh Baskin, who makes a wish to be big and suddenly finds himself the age that I am now.

As a result, it felt like turning the clock back on my own life to see a group of middle schoolers dancing across the stage wearing acid washed jeans and scrunchies. When Susan, the love interest of Big Josh Baskin, smiled wistfully as she thought back 20 years to recall her 13-year-old self, I was right there with her.

I think there's something in this production for people of any generation, though. Adults of any age will likely get a smile from their own memories of becoming teenagers (and their own experiences of the '80s). Any mother will likely identify with Mrs. Baskins' comments about wanting to raise an independent child while simultaneously wishing he could stay her baby. Those who are kids now (and I saw plenty of them at the Saturday afternoon production I attended) should take delight in the idea of being an instant grown-up ? and hopefully end up with a new appreciation for the fact that they're not there yet.

The plot followed the movie closely though not exactly; tiny details were compressed or simplified for the stage. As is customary at The Hale Theatre, the roles are double-cast, and the production I attended had many standouts among the talented actors. Most notable was Jim Dale, who completely nailed the bravado of a toy company's CEO in his portrayal of Big Josh Baskin's boss, Mr. MacMillan. His attitude was amusingly mirrored in the assured swagger of young Kooper Campbell, who played Josh's best friend, Billy.

The strongest voice in the production belonged to Danny Tarasevich as Big Josh Baskin, who also did a nice job of mimicking the mannerisms of a 13-year-old in an adult body. Wanda Copier was also especially adroit at hitting the high notes as Mrs. Baskin.

The teen ensemble shone brightest with their group dance numbers, and one young lady named Sierra Moosman especially stood out with her smooth moves at an office Christmas party scene.

If I ever had doubts as to whether the production was improved by the addition of a musical score, they were erased by the two musical numbers set in the board room at the toy company. Watching a room filled with gray suits and crumpled paper turn into a synchronized song-and-dance routine was a beautiful thing to behold. The adult cast turned the numbers "Welcome to MacMillan Toys" and "Coffee, Black" into a tour de force.

I think the sets may be the real star of this show, though, so many kudos must go to set designer Kacey Udy and prop master Jennifer Stapley. We entered the coliseum-style theater to see only a small, tiled floor at the center of the room, but throughout the production, a dazzling array of elaborate sets came whooshing out of seven or eight different entrances, including the floor itself. A carnival, a kitchen, an office, a toy store, and a train station took turns occupying the main level. Even the floor opened up to create Big Josh Baskin's apartment, complete with a trampoline. The four landings in front of the entrances on the upper level housed smaller sets like the carnival game where Josh makes his wish to be big and the bedroom where he discovers his wish has come true.

Unfortunately, the staging also created one of the production's biggest weaknesses. With an audience on all sides of them, the actors can't face everyone at once, and their backs were turned to me during two of my favorite scenes. One was when Big Josh Baskin convinced his friend Billy of his identity by performing their favorite hand jive about "ice cream, soda pop, vanilla on the top" and "Sock me in the stomach three more times." The other was when Big Josh Baskin and Mr. MacMillan played chopsticks together by jumping on an oversized piano keyboard. Judging by their backs, the actors appeared to be doing a superb job of recreating these scenes, and I would have loved to have the chance to appreciate their talents more fully. Likewise for the climactic scene between Big Josh Baskin and Susan, which was obscured by a large prop.

However, it was hard to feel disappointed for long when I was watching 13-year-olds slide gleefully down giant slides, let their jaws hang open over their first crush, and remind me that my world ? the adult world ?
is really a pretty cool place, too.

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Big Ups for 'Big'

This Hale Centre Theatre musical makes child's play of turning the clock back 20 years.

Big Ups for 'Big'