Snowhite
Reviewed by Lara J. Altunian
Santa Monica Playhouse
Through April 2
RECOMMENDED
When it comes to classic fairy tales, there’s always room for updated adaptations — particularly when it comes to introducing one with antiquated values to a new generation of audiences. Santa Monica Playhouse’s rendition of the Brothers Grimm’s Snow White spins the narrative of a helpless young girl into a tender mother-daughter story that stresses family and personal growth over knights in shining armor. The well-designed musical is an entertaining introduction to theater for small children that preserves the protagonist’s innocent essence while completely revamping the plot.
Snowhite (Julia Masterson) is a happy-go-lucky girl living in the forest with her Seven Silly Companions (Krit Gough, Margot Leach, and Michala Peltz — who play twins Dizzy/Mopey, Cheerful/Grouchy, and Snappy/Nosey respectively; and Meghan Nealon — who plays JEM, the unofficial leader of the bunch). Upon her birthday and coming of age, the companions (a preferable alternative to the original 1812 and subsequent versions’ jab at dwarfism) gift her a magical mirror, which is able to guide her in her destiny, as long as she asks it the right question. Little does Snowhite know that her mother, the Queen Regnant (Bethany Dream), is facing similar inquiries regarding her future. Both feel that something is missing and hope to discover the answer in finding one another. But not everyone is eager for their reunion. The queen’s royal advisor Graylock (a double-cast Nealon) has his own agenda that threatens to interfere with the queen’s desire to see her daughter again. Meanwhile, Snowhite is ready to risk it all by going on what could be a dangerous quest to find her mother, her past, and herself despite the companions’ advice against venturing out alone. Our heroine must overcome adversity and question right from wrong in order to achieve her aspirations and discover the true meaning of love.
Co-artistic directors/writers Evelyn Rudie and Chris DeCarlo create a charming world for Snowhite despite the restrictions that come with producing it in such a small space. The choice to exclusively feature a maximum of four companions on stage at once and the limited amount of props prevents crowding and confusion. By having young spectators only concentrate on a few talking heads at a time, the play is able to retain the viewers’ attention without oversimplifying the dialogue. Many moments in the script even acknowledge some of the double-casting with jokes that people of all ages may pick up on and enjoy, but definitely throw older theatergoers a much-appreciated bone.
Between cute (though less adult-friendly) moments of song and call-and-response audience participation, the play has a tendency to be a bit too exposition-heavy. However, the greatest visual asset comes by way of James Cooper’s impressive projections, which double as the set. Inspired by the 1854 Grimms’ Fairy Tales illustrations, these dynamic images of Snowhite’s forest home and the inside of the queen’s castle conjure the most magic. Similarly, the sentient mirror easily establishes itself as an additional character. The special effects alone are worth seeing the play.
Also aesthetically appealing are Ashley Hayes’s modern take on Medieval costumes. Her designs match the set’s color palette, create visual threads between connected characters, and include a few key accessories that actors playing more than one part are able to change in and out of in a flash during fast-moving scenes.
On a more traditional note, Masterson is the quintessential Snow White. She is able to capture the heroine’s gentle naïveté, but with a bit more gumption and determination than one would expect. The companions are also wonderfully portrayed by the all-female cast. Nealon is the clear standout as both JEM and Graylock with her varied performances of the contradictory roles. Throughout the evening, there were a few occasional fumbles when the actors recited their lines. There were also moments when the singing was sometimes overpowered by the music, otherwise the vocal harmonies during the mother-daughter duets in particular were melodically beautiful.
Snowhite is a bit better-suited for youngsters and toddlers than it is for families of all ages, but as evidenced by the fascinated soft gasps I heard around me, the show is a must-see for little ones. Los Angeles may have a large theater community, but there never seem to be enough options when it comes to children’s theater outside of very local, often less-publicized community efforts. If you and your kiddos happen to find yourselves in Downtown Santa Monica sometime within the next few weekends, there’s really no excuse not to go.
Santa Monica Playhouse – The Other Space, 1211 4th St., Santa Monica; Sat., 2 pm; Sun., 12:30 pm; extended through Apr. 2. (310) 394-9779 or https://www.santamonicaplayhouse.com/snowhite.html. Running time: one hour and 15 minutes with one 15-minute intermission.
