Director Kate Gleason helms a memorable production of the beloved musical.

Creede Repertory Theatre, currently celebrating its 60^th season, has mounted a magical production of The Fantasticks, by Harvey Schmidt and Tom Jones. The musical, first produced off-Broadway in 1960, has logged 17,162 performances, earning it the title of the world’s longest-running musical.

The story line, a kind of reverse homage to Romeo and Juliet, feels like a fairy tale, both simple and universal. Two neighboring parents build a wall between their homes and pretend to feud. They hope this scheme will get their children, attracted by what is forbidden, to fall in love. The musical explores the difference between infatuation, love, and the allure and deceit of a grand vision.

Kate Gleason directs a production overflowing with humor and charm. The cast, all experienced, primarily Colorado-based thespians, displayed consistently strong vocal and dance abilities.

As the Narrator, and subsequently the character El Gallo, Guillermo Jemmott Jr. opens the show with exactly the right mix of sophistication and reflection with a lovely rendition of the famous song, “Try to Remember.” Jemmott manages an urbane savoir-faire that charms and later, as the Narrator morphs into El Gallo, also deceives.

Marisa Dinsmoor and Henry Hawkes make charming young lovers, Luisa and Matt, but the scheming parents, played by Logan Ernstthal and Dani Soibelman, nearly stole the show. Their bittersweet philosophy of parenting, expressed in “Never Say No” and “Plant a Radish” humorously expresses the exasperation of parents everywhere.

Christy Brandt, (The Old Actor) and Alan Ball (The Man Who Dies), both Creede Repertory veterans, added more comic relief. These two make a scene out of getting into a doublet. Heidi Carann Snider (The Mute), had an air of efficiency and aplomb, whether sweeping Emily Van Fleet, Creede Rep’s Artistic Director, off the stage or snapping “selfies” of the happy young lovers and their parents. Her relatively brief, nonspeaking appearances became a running commentary on the rest of foolishness on stage.

Logan Ernstthal, Guillermo Jemmott Jr. and Dani Soibelman in ‘The Fantasticks’ at Creede Repertory Theatre. | Photo: Brooke Ashlee Photography

Powerful choreography

It’s the inventive choreography of Bethany Eilean Talley that lifts the show into an extraordinary experience. Talley followed what she calls a “music-informed movement” approach to tailor dances that responded to each song style and plot point.

A high point was reached in the second Act as actors danced “slow mo” while singing, “This Plum is Too Ripe.” The dance memorably showed the frustration of characters dissatisfied with their worlds but struggling to change them.

The lighting design added to the magic. Red lighting underscored the transformation of the benign Narrator into the more ambiguous El Gallo. Offstage blinding lights and haze depicted young Matt’s dream of a grand adventure out in the world.

Music Director Aldo Allgoode contributed expert keyboard accompaniment that was by turns muted or dramatic, as called for by the action. Snider’s tap dancing added percussive impact during “The Rape Ballet,” a staged abduction, which Matt thwarts, meant to give the parents the excuse to bless the love of Luisa and Matt. Touches like these made for a very special event.

The scenic design, by Tina Anderson, featured aspens, giving a localized setting for this universal tale.

This season, in addition to some after show Chat Backs, Creede has added some pre-show “Cliffside Conversations” in which artists and crew discuss the creative process and invite questions.

Creede Repertory Theatre specializes in long, fulfilling journeys. Pioneered by University of Kansas theatre students who drove across the Plains to create theatre on a shoestring in a declining mining town, the company has thrived. Take to the road to see The Fantasticks or one of the other plays in this season’s rotation, Xanadu, The 39 Steps, or Silent Sky. It’s worth the trip!