Mercury’s ‘Big River’, if muddy, rings crystal clear

Eric Amundson and Curtis Bannister. Photo by Liz Lauren.

Who better to trust with Big River, the musical based on Mark Twain’s quintessential Adventures of Huckleberry Finn, than Mercury Theater Chicago? The results are expectedly impeccable and what it has to say is as important as ever, even if the musical itself remains imperfect.

Widely considered to be Twain's masterpiece, the book remains controversial to this day for its free use of the n-word and its backdrop of slavery, elements true to its setting. Also true: it employs folksy humor to make readers consider issues of friendship, justice, and morality as Twain's meandering tale follows Huck Finn and runaway slave Jim down the Mississip’.

A hundred years and change after publication, Huck Finn made it to Broadway in 1985 as Big River, adapted by William Hauptman with songs by Roger ("King of the Road") Miller . The resulting hootenanny earned seven Tony Awards, including Best Musical. (Big River’s detractors will point out 1985-6 was a notoriously weak season.)

In its Mercury staging, director Christopher Chase Carter and choreographer Ariel Etana Triunfo lovingly guide Huck (Eric Amundson) and Jim (Curtis Bannister) on their journeys internal and external. Amundson, a year away from his BFA from the Chicago College of Performing Arts, is a terrific storyteller who assumes Huck’s iconic Americana character with ease and good humor, especially as shown in his rendition of “I, Huckleberry, Me.” And as Jim, stage veteran Bannister shows strength, resolve, gratitude, and magnificent voice for his life’s blessings, all the while focused on the ultimate freedom from slavery for his wife and children. His rendition of "Free at Last" is an absolute showstopper, and, in this reviewer’s opinion, it’s a matter of time until he’s a Broadway star.

Carter’s signature choice in this production is his highlighting the stark juxtaposition of farce and villainy, such as the the ably swindling Duke and King horrifically separating a slave mother and daughter by selling them to different owners. It jars with the folksy tale so far presented and throws the audience into considering racism, then and now. “There are politicians and citizens of this country who are trying to hide our shared American history, making this beautiful, historical musical essential for this moment,” Carter said.

The show’s two leads are supported by a terrific supporting cast who portray an assortment of simple characters and, most importantly, hit every harmonized note in that terrific songbook including, Cynthia Carter, McKinley Carter, Isis Elizabeth, Gabriel Fries, Amanda Handegan, Marcus Jackson, Darryl D’Angelo Jones, March Marren, Colleen Perry, Callan Roberts, Haley Jane Shaffer, David Stobbe and Jake Ziman.

Musical highlights—played by the terrific onstage band (Malcolm Ruhl is music director; Marques Stewart conducts from the keys)— include the upbeat, “Do You Wanna Go to Heaven;” a homespun political statement, “Guv’ment;” the signature duet "Muddy Water;" the tender "River in the Rain;" the comedic "Royal Nonesuch;" the riveting "Free at Last;" and the lovely "Leavin's Not the Only Way to Go," among others. Miller’s music is a huge asset to a plot that reads better than it displays on stage. Which is not to say Big River doesn't deserve its accolades. It simply would benefit from some creative editing of scenes, particularly in a second act, that drags a bit with elements that intrude upon the central story.

Jacqueline Penrod and Richard Penrod’s gorgeous, multi-tiered, woodsy unit set harkens the banks of the mighty river, providing a fine canvas for Carter’s harmonic painting. Denise Karzcewski (lighting design), Marquecia Jordan (costume design), Keith Ryan (wig design), Kurt Sniekus (sound design), Jonathan Berg-Einhorn (properties design) and their teammates add flawless expertise to a production in an intimate space that rivals the quality found on Chicagoland’s biggest stages.

As today’s society continues to grapple with issues of racism, its whitewashing, and book banning, musical theatre patrons who take in Carter’s brilliant vision of Twain’s Huck and Jim, via Mercury Theater’s Big River, will be richer for the experience.

Here’s hoping the production spawns a tour. Perhaps to Tallahassee?

Big River runs through June 11 at Mercury Theater Chicago, 3745 N. Southport Ave., Chicago. For tickets or more information, please click here.

For more reviews on this or other shows, please visit theatreinchicago.com.