Steve Allhoff and Brenna Silva Photo by Dave Lepori

In times such as now, when more and more people are either deeply losing hope, becoming more cynical, or just checking out, the idea of miracles probably for most seems a bit ludicrous and old-fashioned. But such is the case even in 1946 when two New Yorkers find themselves lost in the Scottish Highlands, only to suddenly hear singing and see a village emerge in the morning fog in a location where the map shows no such place.

When they enter a town with no phones or electricity, with people dressed from another century and everyone welcoming them as almost family in quaint and archaic phrases, their inbred New York skepticism and proneness to ridicule what they do not understand is sorely tested–until at least for one of them, love emerges while strolling the heather fields.

In 1947, as the world was still trying to recover from World War II, Alan Jay Lerner (book and lyrics) and Frederick Loewe (music) brought the hope of magic and miracles to Broadway along with a dream that an eternally happy village called Brigadoon might be possible. Almost eighty years later, South Bay Musical Theatre seeks to raise our spirits and remind us that even amidst dark times, being open to something as simple as newfound love can prove miraculous.

What is truly almost incredulous about SBMT's Brigadoon is the extraordinary local talent assembled among the cast of twenty seven, the orchestra of seventeen, and a creative team of true artists. There is not a stage in America that would not be proud of this must-see production now playing in Saratoga, with voices, acting, choreography, music and visuals appearing as magical and miraculous as the village of Brigadoon itself.

As Tommy Albright and Jeff Douglas stumble tired and disoriented into this suddenly appearing village, a colorful fair of another era is in progress in the main square, with everything from woolens to baked goods to sweet candies for sale. Joyful voices rise in rolling harmonies of "Come ye, to the fair," as couples and small groups take to dance.

The outsiders soon hear that the village is abuzz about today's nuptials between Charlie Dalrymple and Jean MacLaren. For his part, Charlie is bursting with anticipation "of starting a new clan this very night," as Cam Burchard's face literally glows while he exuberantly sings, "I'll Go Home with Bonnie Jean." His beautifully intoned tenor rides to its heights to pause in sustained notes that shine with Charlie's excitement.

Once again, villagers take to dancing as they will time and again during the day and evening to come, with Esther Selk's choreography highlighting many styles of traditional Scottish and Highlands dances from jigs to round to waltz, polka, reel and more. Toe to heel touches, high knees and hops, raised arms that balance and then swing as the body twirls, high kicks in the air–so many variations of moves by soloists, couples, quartets, concentric circles, and long lines that all are executed time and again without flaw and with full flair by a cast who, to a person, are all smiles with big-face expressions. A graceful and mesmerizing ballet by the bride Jean (Tracy Fuller) and her bridesmaids; an emotional, heart-breaking dance by a distraught villager named Maggie (Adisa Kruayatidee); and a fabulous display of traditional Scottish sword dancing by wedding celebrants (Kyle Arrouzet, Braden Koch, Michael Saenz) further remind us that the original dances of Brigadoon were in fact created by the great Agnes DeMille.

While Jeff (Zack Goller) is clearly not buying all the good feelings and welcoming hearts but is more inclined to take another sip from his flask, to make another snarky remark about these funny people in costumes, and to want to leave as soon as possible, Tommy is more inclined to hang around awhile. That is especially true as he bumps into Fiona, a local lass whom we have earlier heard sing "Waitin' for My Dearie" when Brenna Silva in a crystal-clear, vivacious soprano sings Fiona's firm declaration to her girlfriends that she will not marry until she finds true love.

And there is not exactly love at first sight between these two. Tommy also has a cynical side and is less than happy about his job, his upcoming and much postponed (by him) marriage, and his life in general. As Fiona tells him, "I like you, but I don't like anything you say."

But a walk with Fiona in the purple hills of heather leads to some mutual, good-natured flirting, with Steve Allhoff's Tommy soon able to wow both Fiona and all of us with his gorgeous vocals as together they sing, "The Heather on the Hill." His Tommy will eventually be heads over heels in love with Fiona, singing at times a number like "Almost Being in Love" with such ecstasy that it seems his feet are off the ground as his tenor voice floats with clarity, sureness, and ebullience.

In the meantime, Jeff is still grumbling and grouching, even when the highly flirtatious Meg Brockie lures him into a country shed with the clear intentions that the surrounding brambles will tear the pants off of him. Alicia Teeter is a total hoot as Meg, twice bringing to the spotlight her feisty shenanigans, a beaming spirit, and a booming voice as she sings with much hilarity "The Love of My Life" and "My Mother's Weddin' Day."

When Jeff and Charlie happen upon a family Bible in which the evening's wedding of Charlie and Jean is already recorded for posterity, they are confronted with a shock. There is a secret no one has yet told them. Now that Tommy has found the love he does not have in New York, troubling questions arise. It will take a miracle for a satisfying answer to become clear for him.

There are other quirky, spunky, and delightful characters that leave us with memorable impressions. The proud father of Jean, Andrew MacLaren (Michael Paul Hirsh); a big-lunged bagpiper filling the air with the famous Highlands music (Lettie Smith); a twinkling-eyed schoolmaster and keeper of the village's all-important secret, Mr. Lundie (Robin Melnick); and a weaver named Archie Beaton (Vic Prosak) whose brows are often knitted over the troubling antics of his grown son–all and more are singular characters that stand out even after often only brief appearances. The troubled son of Archie Beaton plays a role not unlike that of Judd in Oklahoma!, with Harry Beaton (Michael Saenz) bitter to the core that Jean MacLaren is marrying Charlie instead of him–so bitter that his half-crazed self is like a thundercloud hanging over the festivities ready to burst into a storm.

Much of the magic of the SBMT production comes not just from the story and the music but from the scores of large and small decisions made by director Doug Brook to both spark and sparkle and even some breathtaking drama in scene after scene. As the huge cast of villagers moves about, the blocking, the groupings, and the personality-enhancing mini and silent vignettes are a show unto themselves. A scene of the town's women lined up to pack the bride's clothes as she moves out of home is full of high-stacking hilarity even as they sing with melodious, swirling harmonies, "Jeannie's Packin' Up." And a tense, desperate chase scene through the countryside by the town's menfolk occurs with split-second timed entrances and exits.

From the theater-filling melodies sung so wonderfully by the cast to the luxurious, big sounds of an orchestra playing from a room remote from the stage, Joseph Kelley's music direction is remarkable, bringing the Scottish-embedded score to rich fruition.

The Highlands and its village of alluring charm come to reality through the ever-shifting set pieces designed by Bo Golden, the lush and richly colored scene-setting projections of Don Nguyen, and the beautifully lit and shadowed touches created by lighting designer, Edward Hunter. The amazingly authentic Scottish Gaelic dialects both spoken and sung by each and all as coached by Kimily Conkle are heard without a syllable missed as just one aspect of Dan Singletary's exacting sound design. Finally, from the many hued dresses, aprons, tams, bonnets, shirts and pants of the villagers to their wedding dress of family clan tartans of kilts and scarves, costume designer Y. Sharon Peng has once again outdone herself on a Bay Area stage (not to mention her wigs and makeup for the production).

A day later, a smile is still frozen on my countenance and the sounds of a far-off village's songs still echo in my ears. South Bay Musical Theatre's Brigadoon is a village that will too soon disappear into the mist on June 7, but there is still plenty of time to enjoy an evening in a magical village made very real by this superb production.

Brigadoon, a South Bay Musical Theatre production, runs through June 7, 2025, at Saratoga Civic Theatre, 13777 Fruitvale Avenue, Saratoga CA. For tickets and information, please visit southbaymt.com or the box office Monday – Sunday, 10 a.m. – 7 p.m., or call 408-266-4734.