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Regional Reviews: Phoenix The Roads to Loch Lomond Also see Gil's reviews of Kimberly Akimbo and Newsies
In the program notes, the show's composer, Neil Douglas Reilly, states that the musical is a way to carry on the fables his family, the MacKenzies, passed down over the years as the story of the timeless Scottish ballad "The Bonnie Banks o' Loch Lomond." He says this is his family's imagined story behind the song, just like other Scottish families have their own version. "...Loch Lomond" is a song that has resonated for centuries with its lyrics that state, "ye'll take the high road, and I'll take the low road, and I'll be in Scotland afore ye," so it's interesting to see Reilly's family's take on the origin of the song, handed down generation to generation. The plot follows two brothers, Lyle and James, during the Jacobite rebellion, a pivotal fight for Scotland's future that left lasting scars on its people. Lyle and James find themselves imprisoned for treason with both set to be hanged the next morning. Through a series of flashbacks, we witness their journey and come to understand not only how they got to be where they are, but also the devastation of war and the profound bonds of loyalty and family. The show intertwines moments of romance and heartbreak with the larger themes of freedom and survival, bringing to life the sacrifice embedded in the song's haunting lyrics. The score, with lyrics by Maggie Herskowitz and music by Neil Douglas Reilly, is fantastic. Richly layered with Celtic melodies and rhythms, the music transports the audience to 18th-century Scotland while still feeling fresh and theatrical. From sweeping duets and larger numbers for the four-member cast that capture the urgency of rebellion, to intimate ballads that reveal the inner lives of the characters, the score is both passionate and poetic, featuring a nice variety of songs. The "Loch Lomond" ballad, woven throughout the musical, builds in poignancy as the story progresses, culminating in an ending that has a rich, emotional resonance that connects the audience to the history and to the humanity behind the song. Herskowitz's book uses the flashbacks smartly, each revealing more details about the characters, their situations, struggles, and constant endurance. The only small quibble I have is that there could be a little more clarity or a few additional details concerning the Jacobite rising and why the brothers feel forced to fight. In the current state, it feels rushed and not entirely clear. Reilly's program notes help fill in some details, but that information should be present, or at least more clearly detailed, in the musical. The cast rise to the challenges of this demanding piece with power and sensitivity. Jeffrey Kringer and Gianni Palmarini portray Lyle and James, respectively, and both bring warmth and depth to their relationship with each other and the women they love, making their journeys believable and compelling. As the two women in their lives, Elspeth and Ailey, Cassie Chilton and Carmiña Monserrat add texture and vibrancy, embodying their relationships with the two brothers, the stakes they face, and the heartbreak of war. Vocally, all four performers shine, navigating the lush and sometimes complex score with ease, conviction, and passionate voices that soar with sustained and gorgeous high notes. Of note: Rachel Finley's dialect coaching derives rich and authentic, but not too thick, Scottish brogues from the cast. Jeff Whiting's impressive direction works very well to bring this small cast musical to life, with natural and authentic portrayals from the cast as well as a few impressive dances. Visually, the production enhances the story with evocative design elements. The costumes by Adriana Diaz are beautifully detailed, rooting the piece firmly in its period, while Keith Truax's lighting and video designs by Tony Churchill add atmosphere and changing landscapes to Aaron Jackson's effective set, which uses stone elements to invoke the period and setting. Together, the elements create interesting stage pictures that immerse the audience in the beauty of the Scottish Highlands and the era. Reilly's orchestrations are gorgeous and sound lush under James Dobinson's music supervision and Stephen Kuebelbeck's music direction of the small, but impressive, five-piece orchestra. The Roads to Loch Lomond is an affecting new work that honors a classic ballad while giving it new depth and meaning. It is a reminder of the cost of freedom and the enduring power of handed down stories, tales, and songs to carry history forward. You'll most likely also be reminded of Lyle and James and the challenges they faced anytime you hear "...Loch Lomond" in the future. The Roads to Loch Lomond runs through November 2, 2025, at The Phoenix Theatre Company, 1825 N Central Avenue, Phoenix AZ. For tickets and information, please visit http://phoenixtheatre.com or call 602-254-2151. Book and Lyrics by Maggie Herskowitz Cast: *Members of Actors' Equity Association, the union of professional actors & stage managers in the U.S. |
