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Montague Gammon III
Brilliant, boundlessly energetic, buoyant, exuberant, and beautiful in manifold ways, the
Virginia Stage Company’s world premiere of Frog Kiss is exemplary of the artistry and
entertainment of musical theatre.
From a choral beginning of swing I-Ching and be-bop Tao in four part harmony, through
high energy song and dance and tongue-in-cheek narrative, to its more-or-less
predictable but still fun resolution, this tale about a hyper-rational, highly intellectual
and empirical Princess whose parents’ kingdom is beset by quite recognizable political
woes – solvable only by her marriage, of course – possesses an absolutely gleeful
feel, a real joie de vivre and a self-aware joie de theatre.
The show is full of clever allusions and semi-references – musical, visual, verbal – to
styles, shows, movies and artists of the past, yet Charles Leipart’s book and lyrics are
never coy or self-praising. Whether or not you get the in-jokes, or if you only sense
something familiar about this or that musical riff, there’s plenty of fun, sheer pure fun,
rolling off the stage.
And OMG the dance! The choreography! Surely the best tap this writer has seen since
Savion Glover at the Sandler, and very possibly the best ensemble dancing in these
parts since the biggies like Mark Morris and Alvin Ailey and Birmingham and ABT
visited.
Eric Schorr’s score blends handfuls of styles ranging from jazz dominated show tunes
to rap, in a way that makes that latter genre not only relevant and enjoyable, but turns
its presence into one of the delighful puns that season the show.
Entwined with the well played quasi-romance of Princess Clementine (Stephanie
Rothenberg) and The Frog who is mysteriously endowed with speech (Curtis
Holbrook), is the neatly acted attempt by the younger Princess Hortense (Katie Lee
Hill) to win the right to inherit the throne for herself and her easily bossed husband
Claus (Preston Truman Boyd).
King Frederic (James Beaman) and Queen Margot (Aisha dHaas) provide a sweet
portrait of enduring love and mutual respect (and tolerant parenting) in a long lived
marriage, and a handful of less prominently featured characters are memorably played
by a tightly knit ensemble, under the direction of Kenneth L. Roberson, who also
choreographed the tap dancing.
The rest of the superb choreography is by Lorna Ventura, fine costumes by Paul
Tazewell, excellent scenery designs by Neil Patel, perfect lighting by Howell Binkley,
crystal clear and effective sound by Peter Fitzgerald, musical direction and conducting
by Barton Kuebler.
This is an often ribald but never crude version of the old enchanted prince/frog fairy
tale, certainly not suited for anyone under late high school age, and maybe not for
easily embarrassed late teens either. Anatomical and sexual allusions are crystal clear,
though vocabulary is nothing close to explicit, but if you don’t want to explain why a
riding crop nor a frog’s tongue can be funny, leave the younger set home the first time
you see it. If you decide it would have been OK for whomever you didn’t bring, you will
not regret the excuse to see Frog Kiss a second time.
Frog Kiss Book and Lyrics by Charles Leipart Music by Eric Schorr Based on the
novella The Frog Prince, a Fairytale for Consenting Adults by Stephen
Mitchell Virginia Stage Company at the Wells Theatre 110 E. Tazewell St. (Tazewell
St. & Monticello Ave.) 757-627-1234 www.vastage.com Through Feb 3
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