‘The Old Man and the Old Moon’ is naturally created theatrical fun

Evergreen Players production features a multi-talented cast and amazing shadow puppetry to make this stripped-down folk-rock musical a must-see

In a world where it’s easier than ever to use technology to cut corners in theatre, it was deeply refreshing to watch the Evergreen Players work together as a team to bring The Old Man and the Old Moon using minimal tech elements. Under the skilled direction of Michal McDowell, this multi-talented eight-person cast portrays all 23 characters, plays the musical’s folk-rock soundtrack, and helps create live onstage sound and lighting effects that remind you of the power of live theatre.

The Old Man and the Old Moon was written and developed by the PigPen Theatre Co. The group met as sophomores at the Carnegie Mellon School of Drama in New York in 2007 and have been creating their unique brand of theatre, music and film ever since. This beautiful and inventive new musical takes the audience on an epic adventure that pits love against duty. The Old Man (Andy Seracuse) has kept his post as the sole caretaker of the moon for as long as he or his wife, the Old Woman (Leann Ritter), can remember. The pair has fallen into a rut because the Old Man is scared to go out with his wife because he’s worried there will be no one to fill up the moon.

One evening, the Old Woman hears a mysterious melody in the wind that reminds her of their shared past. When she is drawn away by a mysterious melody, sparking memories of their shared past, the Old Man must decide between duty and love. Once he wakes up and realizes she’s gone, he goes chasing after her and gets thrust into an epic odyssey that defies the imagination and forces him to take on apocalyptic storms, rebel ships, man-eating fish, depressed ghosts and the fiercest obstacle of all: change.

As you enter the theatre, you are immediately thrust into the heart of a port town, designed by set designer and cast member Ryan Glaser. There is an elaborate wood platform in the center with two white sheets fastened to wooden planks. A projection of the full moon is cast on a long, silky white cloth hung from the ceiling. The set is adorned with wooden crates labeled with phrases such as “pig parts” and “scotch whiskey.” The musical begins with a cast jam session as the audience is welcomed to this mystical port town.

Musical director Christian Shaw does an excellent job of directing his cast members. Although not everyone in the cast had a musical background, everyone was enthusiastic and the ensemble sounded fantastic. Following the rousing opening number, Shaw addresses the audience directly and explains that this is a difficult story to tell because there is no clear beginning or end. It’s a strange story about a man who needs to fill the moon with light.

The plot then takes off, and the actors collaborate expertly to tell this bizarre story. There isn’t a single weak link in the entire group. Andy Seracuse has adopted the Old Man’s hunched posture and has a commanding stage presence. Seracuse’s perfectly tailored delivery can make you laugh or cry, and he gracefully handles the ups and downs of his characters’ journey. Ritter’s portrayal of Cookie is sassy, and she is enigmatic as the Old Woman. As the ship’s crew, Ritter, Shaw, Glaser, Fox, and Jeremiah Martinez have boundless energy.

Brian Dowling plays four different characters and does an impressive job of making each of them specific and distant (my personal favorite was his depressed and cantankerous ghost, Perry). Alyssa Merrell, a local 7^th grader at West Jefferson Middle School, completes the cast and does a great job operating the dog puppet — cheekily made out of a mop and milk carton — in the second act.

Organic vision

McDowell was determined to make this “the most community-based and naturally created theatre possible” that put all the emphasis on the cast and story. Her command of this ensemble is excellent, and she has realized her vision for organic, naturalistic musical theatre. McDowell’s blocking is dynamic and takes advantage of the set’s levels and multiple entrance points.

Kevin Taylor’s lighting design incorporates light from a variety of sources, rather than just conventional overheard theatrical stage lighting. String lights are strung beneath the platforms, lanterns are strewn about, and flashlights are used by the actors to create specific lighting effects, such as the shadow puppet work in the play. Actor Kellie Fox designed and choreographed the intricate shadow puppetry. (In the program notes, Fox explained that she had fallen in love with puppetry after working with puppets in Shockhead Peter with the Catamounts.)

Fox did extensive research to figure out how to choreograph these intricate moments of puppetry. It takes three actors working together behind the curtain at times to pull off the play’s magical moments of puppetry. These elements are used in the town travel sequences to help depict the ships’ travels, shark attacks, sailing around underground volcanoes and hot-air balloon transportation. It’s incredible how much the performers can communicate with only shadows. This is the type of work that must be seen live to be believed.

The Old Man and the Old Moon’s cast and crew deliver a delightful minimalistic musical. McDowell’s stripped-down, naturalistic direction gives the ensemble and the story’s message of change a deeply authentic feel. It’s a happy, family-friendly musical that’s always engaging and incredibly heartfelt.