Stage Struck Review

Reviewing Theatre For Over 40 Years

“Bend in the Road” – The new musical at the Carrie Hamilton aims in the right direction

L to R: Justine Huxley, Christopher Higgins, Alison Woods, Kailey Swanson,
Mariella D’Avirro, as Anne arrives in Avonlea in “Bend in the Road” (photo by Chris Ellis)

The run of this show has now been extended until October 14

Long ago I knew a woman who spent her youth working as an usher at the theater in Boston where an enormous number of now-famous Broadway musicals conducted their “out of town try-outs.” She used to tell fascinating stories about what these great works looked like when they were newborns, and how they changed during their run at that theater. Indeed, I also grew up with similar tales told by an original chorus member of “My Fair Lady.” Fascinating to consider such a thing in its stage of growing pains.

Now a brand new musical with much to recommend it has surfaced upstairs at the Pasadena Playhouse. There, in the Carrie Hamilton Theatre, one may meet “Bend in the Road,” a musical by Benita Scheckel and Michael Upward based upon the classic novel “Anne of Green Gables.” There are a few evidences of the same growing pains referred to above, but by and large this production shows great promise. One may be watching the birth of a hit.

The tale is the classic heart-warmer. An earnest and somewhat headstrong orphan girl lands at the door of two older, unmarried siblings who raise her. She develops a fast and enduring friendship with a neighbor girl, and goes head-to-head with the smartest boy in her one-room schoolhouse. As she grows and learns to be a part of her community, her essential good-heartedness rubs off on those around her – even the crusty, nosy widow-woman nearby who initially works to ruin her.

And all this potentially gooey stuff works in “Bend in the Road” due to a crisp script, taut direction, attractively on-point songs and an impressive lead. Indeed, it is the tinge of mischief and obstinacy in Alison Woods’ Anne which energizes the entire piece. This Anne operates from a sure conviction of her own rightness even when she’s not. You see it in her eyes, and that gives the piece teeth.

The songs also stand out. They are hummable, and some have considerable power. Indeed, I’d put “Kindred Spirits,” the song uniting Anne and her best buddy Diana, right up there with “For Good,” the signature song of the massive hit “Wicked.” It has a similar quality of both topicality and universality, and a similar pop-catchiness. Only one piece, the last before intermission, needs real work. Overly complex, it is an attempted fugue which becomes dissonant and somewhat unintelligible instead. Otherwise, it’s quite a score.

This is enhanced by a fine ensemble, who give heart and intensity to the music, and create details within the town in which Anne grows up. Christopher Callen warms to her work as Marilla Cuthbert, the woman who takes Anne in, though her vocal quality sometimes hints at flatness. Don Margolin provides the necessary warmth as Marilla’s soft-hearted brother. Barbara Niles finds a nice balance of heartache and self-righteousness as the snippy neighbor.

Add to these Melinda Porto’s charming Diana, and Christopher Higgins as the increasingly interesting and youthfully handsome Gilbert, add in a bevy of amusingly snippy school girls and bouncy boys, and you have a cheerful frame for the story.

As for staging, under Scheckel’s direction there is an attractive flow to the thing. Though very low-tech, this episodic tale is set in such a way that it moves from scene to scene with precision and energy, so the story never slows. The tiny stage is full, but not crowded, in part because everyone onstage is there with intentionality: they all have something to do, and someone to be.

Projected scenes using artwork by Anna Scheckel provide an effective essential set, along with quick-moving panels which cover the multitude of necessary locations. Indeed, only a roof-walking scene, worked out behind the projection scrim, is comparatively ineffective. The projector itself is seated too high, so the glow from its bulb, rather than aiming above the audience’s heads, hits some audience members in central seats right in the eyeball. Yet, these are easy to fix.

Past such nitpicky details, “Bend in the Road” works. The story is sweet, but not saccharine. The music proves catchy and interesting. Kevin Lee’s choreography feels organic to the time and characters. There is a cohesive vision at work here, and it shows. This just might be Broadway the old fashioned way: a tuneful show with endearing characters and a touching ending that will send you out smiling into the night. It is neither cutting edge, nor deep social commentary, but satisfying nonetheless. A little nip and tuck, and it may be ready for bigger things.

What: “Bend in the Road” When: Through October 7, 1 p.m. and 7p.m. Saturdays and 1 p.m. Sundays Where: The Carrie Hamilton Theatre upstairs at the Pasadena Playhouse, 39 S. El Molino Ave. in Pasadena How Much: $25 general, $20 children 12 and under Info: (626) 344-8846 or

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