Big Machine
Music, Lyrics, and Book by Colin Healy
Directed by Bradley Rohlf
Choreographed by Jordan Woods
Fly North Theatricals
August 4, 2024
Al Bastin and Cast
Photo by Ian Gilbert
Fly North Theatricals
The latest original musical from Colin Healy and Fly North Theatricals, Big Machine, is trying to be a lot of things–a history lesson, a depiction of corporate greed in the auto industry in the 2oth century, an examination of labor-management struggles, and more. What it most succeeds at is being an entertaining showcase for a catchy score and some memorable performances. It could use a bit more in terms of focus and editing of stories, but for the most part, it’s intriguing, and entertaining, with a cohesive look and branding if not an entirely cohesive story.
This show, which also is serving as the local headliner for the St. Lou Fringe Fest, is largely narrated by Thomas Midgely, Jr. (Al Bastin), a chemical engineer who also served as Vice President of the General Motors Chemical Company and has now developed an infamous reputation. The play tells Midgley’s story as he tries to market a product that “works” for its stated purpose but causes a variety of health issues. Midgely is portrayed as something of a an old-time hucksterish figure, or a slick car salesman, trying to cover obvious problems with a glossy veneer. The show also features one of GMCC’s factories and its employees, including manager Methuselah (Christopher Plotts) and new worker Ernest Olsen (Parker). Ernest was mysteriously transferred from another plant due to undisclosed issues, and he and his inventive young daughter, Grace (Maliah Strawbridge) are trying to start a new life in a new place. There’s also Rosie (Lili Sheley) and Gilda (Corrinna Redford), who are trying to organize the workers at the factory and exploring the ideas of communism. And then there’s the mysterious Ethyl (Mack Holtman), who appears in various situations throughout the story, sharing songs with Midgley, making friends with Ernest, and offering advice to Grace. All of these stories are supposed to tie together to tell a story of greed, workers’ rights, environmental issues in industry, as well as a bit of a hopeful slant in the character of Grace, although her story isn’t given as much time as it could.
The stories are a bit cluttered, and it’s not always clear where the main focus is supposed to be–on Midgley or on the factory workers, and specifically Ernest. There are many good ideas here and an especially memorable musical score featuring some catchy songs, although writer Healy seems to want to tell a lot of stories at once, with the result of creating some confusion about what the play is trying to say. Some of the characters aren’t given enough time to develop, either, and although the fantastical elements are intriguing, it’s not also clear what’s supposed to be “real” and what’s supposed to be fantasy. There’s a good story in here, but it needs some editing and there are too many unclear endings for the subplots.
As for the performances, there are some excellent players here. Bastin commands the stage as Midgely, with a strong voice and youthful, persistent personality, while also managing to credibly portray a degree of desperation as the story goes on. Holtman as Ethyl is also memorable, with a versatile, engaging but slyly sinister edge. Strawbridge is a find as the energetic, optimistic Grace, although her role in the story could use some more time. Sheley and Redford are also strong as Rosie and Gilda, although their story is especially truncated, and Plotts makes the most of a difficult role as Methuselah, who isn’t given a lot to do either. The rest of the cast is strong, as well, with excellent singing and energetic dancing choreographed by Jordan Woods.
The set by Caleb Long is effective, with it’s big, nebulous industrial machine the main backdrop with its brick wall covered with pipes and valves. Eileen Engel’s costumes are memorable and period-appropriate, as well, and there’s striking mood lighting by Tony Anselmo. The sound is a bit uneven in places, but the mixing is excellent for the first-rate band led by music director Healy. The music and look of this show are its strongest points, and they work well to tell this intriguing but somewhat cluttered story.
Even though it does have some obvious issues, especially with plotting, Big Machine is a highly promising new work. With its original story and subject matter, as well as Colin Healy’s excellent score, there’s a lot to like about this show from Fly North Theatricals. It works well as a headliner for the Fringe, and with some more workshopping and editing, it has the potential for even more success and notoriety.
Cast of Big Machine
Photo by Ian Gilbert
Fly North Theatricals
Fly North Theatricals is presenting Big Machine at the Marcelle Theatre until August 18, 2024
