Review of MCC Production of “Escanaba In Da Moonlight”

Submitted and published in the Muskegon Chronicle 6/16/01

By Robert Hubbard

Theatre Professor at Northwestern College

Albert Soady, the narrator and patriarch of Jeff Daniels comedy, “Escanaba In Da Moonlight,” is fond of quoting his long dead grandfather. In reviewing Muskegon Community College’s current production of Daniels' Upper Peninsula farce, one of Grampa’s sayings comes to mind. “If you’re looking back at what you missed, you won’t see what hits ya.” This simple yet wise adage unintentionally describes the hilarity created by the production. Simply put, if you stay too long with one sidesplitting moment, you will undoubtedly miss the even funnier gag that follows. MCC successfully unleashes the humor of a play that contains at least as many laughs as the U.P. does deer.

The story takes place in the Soady deer shack near Escanaba, Michigan during the opening of deer hunting season. For generations, the men of the Soady family have gathered here to drink maple whisky, eat pasties, play cards, and dream about shooting fifty-point bucks. Unfortunately, Reuben Soady, the sensitive thirty-five year old son of Albert, seems cursed. Known by the locals as the “Buckless Yooper,” he must endure the unimaginable indignity of never bagged himself a buck. Will this finally be Reuben’s year? A dim-witted brother named Remnar, a friend of the family and frequent alien abductee known as “Da Jimmer,” and an oblivious forest ranger recently transferred from Detroit only add to the already ripe comic possibilities of the story.

The greatest strength of MCC’s production is how the cast plays the humor. Several times the stage erupts with the comedy of group hysteria. Director Sheila Kulp Wahamaki deserves credit for guiding the frantic pacing. The unfortunate fact that several funny lines could not be heard during the opening night outbursts should not be attributed to a failure of pacing, but to the fact that the actors simply need practice adjusting to the laughter. It must have been like standing in front of a tidal wave.

Although every actor in the show contributes to the fun, a few performers stand out. In the important role of Albert Soady, Terry Ireland once again shows himself to be one of the better middle-aged actors in West Michigan. Sporting a fatherly charm and keen comic sensibility, Ireland holds the play together through his narration.

In the richly comic role of the “Da Jimmer,” Tom Harryman brings down the house with his quirky qualities. A blend of innocence and flatulence, Harryman crafts a truly memorable character. Indeed, no one who sees it will soon forget the big fart scene in which Albert and Remnar attempt to revive Reuben from a trance by placing his face directly in the path of Da Jimmer’s posterior eruptions. Not since the campfire scene in Mel Brook’s “Blazing Saddles” has such low humor warranted such high praise.

Despite its comic success, the inconsistent use of the “Yooper” dialect weakens the acting. While Terry Ireland possess the best ear, many of the other actors fade in and out of the trademark vocal pattern. At times, they sound closer to Kentucky than Menominee.

If the dialects are a little off, the design elements score a bulls-eye. Brian James Goodman’s rustic scene design effectively captures the male bonding spirit that pervades the script. The creative use of Michigan license plates stands out as a playful and appropriate design choice. Jeanette Wahr does wonderful things with long-underwear in her costume design, and Rich Oman’s lighting succeeds in conveying the super-natural presence of the play’s final moments.

As a closing thought, a case can be made that we often put live theatre on too high a pedestal. We associate it with tragedy, the human spirit, and life changing events. Without devaluing these lofty motives, their gravity may keep ordinary people away. Productions like MCC’s “Escanaba In Da Moonlight” work against this preconception. As I walked out of the sold-out theatre, the warm summer evening was ripe with high school kids, college students, and adults repeating lines from the play, and laughing . . . eager to relive the past two hours of their lives.