Sure as the sun turns to moon— Phoenix Festival Theatre is putting on Disney’s Tarzan and it’s a world of wonder and whimsy, talent and heartfelt experiences! Directed and choreographed by Bambi Johnson with Musical Direction by Nathan Scavilla, this tremendous theatrical undertaking is swinging to wild and vivacious life at The Amoss Center in Bel Air for just three performances! A remarkably refreshing journey through all of your favorite numbers from the animated screen gem, Tarzan is an extraordinary experience to add to your theatrical calendar this weekend!
Technical Manager Logan Wood, Lighting Designer William Price III, and Projections Manager Suzie Thompson come together to make the magic of Director Bambi Johnson’s vision a reality. The jungle is a series of thick green corded streamers that fly in and out of the space, creating this imaginative sense of wonder every time you see the apes pop through them. There’s a shimmery blue-purple sparkle sheet that serves as a waterfall, and twinkling faerie lights strung way up high over the 900-seat auditorium so that the audience feels as if the stage’s scenery is reaching out over them, drawing them into the story. Thompson’s use of projections— particularly when it comes to the giant spider and again later when Jane starts showing antique photographs to Tarzan— is subtle but effective and furthers the engagement of the audiences’ imaginations. William Price III, as the show’s lighting designer, works with Johnson’s vision to create a masterpiece during “Waiting for This Moment”, where Jane is exploring off the beaten path in the jungle and encounters uncharted and unprecedented flora and fauna. Price uses UV-reactive lights to really make this section of the show pop in a wondrously whimsical way. Ultimately the show’s aesthetics are enchanting in true Disney fashion.
Costumers Charisse Secrest and Robin Myers have taken a beautifully unique approach to the several dozen apes that we see on the stage during Tarzan. The corded costumes defy description (and yet it’s crystal clear that the colorful swinging ties hanging from heads, hips and other parts of the costume are meant to represent the fur of the apes.) The colors are subtle, each ape having a main color against their otherwise black bodysuits, with Kala the main mother in red, Kerchak in silver gray and Terk of course in vibrant aqua-blue. Secrest and Myers extender their design work with similar flare into the ‘flora and fauna’, which feature UV-reactive costuming to set off a fantastical effect against William Price III’s lighting; keep an eye out for their magical wiggle-wobbling-caterpillar transformation in this scene, the costume-magic there is amazing!
One of the hallmarks of Bambi Johnson’s iconic works is the inclusion of younger children; Tarzan lends itself to this practice by giving a pre-song scene setup with Kerchak playing with the children. The Ape Children (Elliott Cosby, Preston Haire, Eloise Lader, Joey Mitchell, Korie Mitchell, Kyle Perry, Parker Peterson) get to monkey around with Kerchak in this scene and can be seen playing around with the main ape ensemble all throughout the big group scenes. They are adorable and fit right in with the whole ‘ape family unit.’ Johnson’s capability to nurture uncultivated talent, giving performers of all ages a chance to shine to their fullest potential is particularly noticeable in this production, especially with these younger performers who are really focused on their ape movements and sounds.
As the show’s choreographer, Johnson captures the living spirit of the jungle and Disney’s music in the dance routines, delivering an energetic series of wondrous dances that the Ape Dance Ensemble (Sam Jednorski, Mya Kukuck, Melanie Marcotte, Ben Marsh, Justina Matthews, Lindsey McCumber, Kristen Mitchell, Katelyn O’Connor, Leslie Perry, Stephanie Peterson, Whitney Russell, Jess Simonson, Tigga Smaller, Elizabeth Thompson, Rob Tucker) as well as the whole Ape Ensemble undertake. “Trashin’ The Camp” is a striking routine of blended chaos and precision movement, all of which adds up to great fun. When they apes are in full swing, for numbers like “Son Of Man” you can feel the full jungle rocking. Johnson showcases her choreographic versatility with the inclusion of the ballet-informed dance fighting, which occurs primarily between Sabor (Leslie Perry) the predatory leopard and Tarzan (Stanley Evans.) The sleek, fluid movements that Perry executes here are an exacting physical replication of her prowling character’s nature; the dance Perry achieves with Evans is both violent and mesmerizing.
Speaking of mesmerizing, Johnson takes the choreography to the next level with everything happening during “Waiting For This Moment.” You almost forge to notice that Jane is on stage having her first introduction as a character and singing her first solo because there are so many extraordinary and astonishing things happening on the stage during this number. The Flora & Fauna Unit (Abbie Bennett, Libby Burgess, Sammi Flickinger, Mya Kukuck, Melanie Marcotte, Justina Matthews, Kristen Mitchell, Katelyn O’Connor, Stephanie Peterson, Whitney Russell, Kat Sullivan, Elizabeth Thompson) are twirling and whirling in gorgeous slow-swooping patterns, but what truly takes your breath away is Brooke Sigwart— the Fauna Aerialist. Up on her silks, twirling, spinning, holding gravity-defying poses, Sigwart becomes the hypnotic feature of this musical number. The dancing, the movement, the blocking, the overall casting choices, everything comes together seamless for Johnson in this production; she delivers the epitome of Disney magic in this production of Tarzan.
Musically the show is wondrous. Powerful, well blended, strong harmonies, all of which have come together under the capable guidance of Musical Director Nathan Scavilla. The company— filled with over forty performing individuals— delivers boisterous, well-tuned sounds, filling and rounding out numbers like “Two Worlds” and “Son of Man.” Some of the more complex harmonies shared between Tarzan and Jane, during “Different” and “For the First Time” are also brilliantly developed with Scavilla’s seasoned practices. You feel the energy radiating off the stage in waves, whether it’s a solo number with one of the Tarzans or a full company number; the energy and emotional fortitude never waver in this songs.
Of course Disney musicals can’t be all sunshine and brilliance; there has to be a bad guy, a villain! And for Tarzan it’s the nasty Clayton (Tom Hartzell.) Flanked by his toady, Snipes (Jordan Baumiller) and The Expedition Crew (Kevin Curry, Adam Kurek, Mike Maistros, Ryan Mitchell, Anna Perry, Jackson Smith), Hartzell is that bombastically loud and obnoxious villain that nobody likes. Hartzell does a fine job of embodying the grotesque ‘bad guy’ vibe so that whenever he’s on stage you sort of hope the apes find some bananas to chuck at his head.
Playing the role of Young Tarzan, Hazel Vogel delivers a serene and sorrowful vocal sound for the solo “I Need To Know.” Vogel is precocious, particularly when hanging out with Young Terk (Anna Perry) who gets to showcase her vocal prowess during “Who Better Than Me.” Vogel and Perry are well matched as the spirited younger versions of these two leading characters. Add to that mix Jackson Smith as Teen Tarzan, though he picks up the back half of “I Need To Know” with equal parts sorrow, and you have a trio of talented young performers who really give the audience insight into Tarzan’s growing backstory. Both Vogel and Smith play exceptionally well with Kala, the Mother Ape character.
Was there a mention of roller blading apes? Oh yeah, Director Bambi Johnson puts some of the apes on roller blades— and not only on roller blades, but she swings them down the aisles of the house on these blades and it’s amazing. But the first ape-on-skates you see is Rob Tucker, credited as the Featured Male Vocalist. He and Lindsey McCumber, the Featured Female Vocalist, lend their phenomenal sounds to numbers like the beginning of “Son Of Man”, “Two Worlds”, and “Strangers Like Me.” Both bring powerhouse sounds to the production that really round out the completeness of the show’s aural landscape.
While the Porter character, Jane’s Father isn’t given a real chance to showcase his vocal singing talents, Steve Flickinger delivers a delightful and memorable performance as the befuddled and paternal character. With a spectacularly maintained posh English accent and overall sense of being from another world, he makes the Porter character a loveable one. His mincing movements are quite comic, especially when he gets overly excited about something; his commitment to the unique physicality that he imbues upon Porter is outstanding and the choice itself just tickles the funny bone. Flickinger is very cartoonish in his physicality and overall reactionary responses to things but balances that with moments of sincerity and levelheadedness too. The way that Flickinger keeps this dueling elements of the Porter character tempered against one another is a testament to his seasoned skills and director Bambi Johnson’s overall Disney vision.
Who better than Terk (Eric Bray Jr.) to give you solid vocals whilst being the epitome of a Disney-sidekick? Bray Jr. has got all the mannerisms, body language, expressive facial features, and the attitude of a tried-n-true Disney sidekick refined down to a meticulous science. Whether he’s slung up the try or flipping upside-down and belting his face off while hanging upside-down, Bray Jr. is serving up some serious spotlight stealing moments! His rockstar vocals are perfect for belting out all during “Trashin’ The Camp” and of course during the “Who Better Than Me? (Reprise).” Bray Jr. is serving up some serious fun with a side of sensational singing and moving.
Motherly, nurturing, and simply sweet Kala (Brianna Plunkett) is the every-mother figure, even if her attentions are focused primarily on Tarzan. “You’ll Be In My Heart” rings with beautiful truth when Plunkett sings this song to baby Tarzan; every one of her moments is nothing short of purely maternal, even when she goes defensively to bat for ‘her son’ against leader of the family, her husband, Kerchak (Gabe Webster.) Bringing a surprisingly versatile emotional-scape to the character, Webster delivers a solid performance with both his singing voice and his vocality. There is emotional gravity present when he song-battles at Kala during “No Other Way” and yet you get to see the becalmed and more playful side of Webster’s Kerchak during “Sure As Sun Turns To Moon.” That number is another chance for Plunkett’s vocals to shine and together the pair make their love for one another and family known. Both Plunkett and Webster are well suited for these parental roles, with Plunkett never straying from the gentler side of motherhood and Webster fully embracing all the facets— from bombastically fierce to the humbled acceptance— of fatherhood.
Though Jane Porter is not technically an official princess in the Disney canon, you’d be wrong to think anything other than winsome Princess-style vocals when it comes to Joshlin Sheridan in the role. Masterfully articulating the posh, Oxford-educated English accent, to truly differentiate herself from both the apes and the humans of apish behaviors (see Clayton and crew), Sheridan is the textbook epitome of Jane Porter. Filled with the joys and wonders of new discovery, her voice soars through “Waiting For This Moment” and all of her interactions upon meeting Tarzan are inspired with wide-eyed and bright-voiced curiosity. When Sheridan’s voice takes flight for numbers like “Like No Man I’ve Ever Seen”, a song shared with Porter, and “For the First Time”, a duet with Tarzan, you feel the jubilation and thrill of her internal monologue soaring through the mellifluous notes she creates during these moments. Sheridan is remarkable as Jane Porter.
Tackling the titular role of Tarzan, Stanley Evans looks and sounds the part every step— or jungle-vine-swoop of the way! (Shout out to the Fly-Team: fly-chief Ryan Mitchell, Jordan Baumiller, Kevin Curry, Tom Hartzell, Adam Jurek, Michael Maistros, who not only kept Tarzan winging his way through the vines but also had various and sundry other apes up on the ropes!) Evans, as the animated and eager Tarzan, is sheer joy to watch in action and not just because of his aerial time. Loping around on the ground with his knuckles as if he truly learned from the apes, Evans creates a strikingly believable physicality for this ‘wild man’ character. When he first encounters Jane, during “Different” the clarity of his voice is in direct juxtaposition with the confusion of discovery and newness written all over his face; it’s fascinating to watch. Tarzan’s athleticism and general movements readily convey his frenetic energy and as he grows in the company of Jane, so too does his vocal strength. Evans has clear, clean vocal sounds, particularly when singing “You’ll Be In My Heart (Reprise)” with Kala and “Everything That I Am.”
Come see their world— it’s beauty beyond your dreams. Get your tickets because they’re giving you a world you need to know! Tarzan will swig into your heart this summer; only two performances remaining at Phoenix Festival Theatre, don’t miss your chance to catch this wild and heart-filled story of two worlds; one heart.
Running Time: Approximately 2 hours and 25 minutes
Tarzan plays through June 19, 2022 with Phoenix Festival Theatre (a part of LIVE! at Harford Community College) in the Amoss Center— 200 Thomas Run Road in Bel Air, MD. Tickets are available for purchase by calling the box office at 443-412-2211 or by purchasing them in advance online.
