Kailea Saplan as Princess Ka’iulani in “Hold on Hawai’i.”
“Women. Don’t. Give. Up.”
These words leapt out of Meghan Randolph’s opening narration in Music Theatre of Madison’s current production, Beyond the Ingenue: Trailblazers, which is available for viewing online through December.
It is a good reminder and call to action at a time when — as a result of the long quarantine, a particularly contentious election, record levels of general anxiety, and the holidays approaching — most of the women I know are...tired.
Much more than a rallying cry, the sentiment is the foundation of each of the 11 songs that make up the Trailblazers revue. These unique, thoughtful and inspiring pieces were specially commissioned for this concert, which delves into the lives, goals, obstacles and successes of a handful of bold women who dared to pursue their dreams. From the 19th to the 21st century, the subjects of each ballad challenge the status quo in the fields of performing arts, literature, science, politics, law, aviation, climate change activism and more, and change the metric of “what women can do.”
“Women don’t give up” is also underlined in each of the spirited performances by a diverse group of women of many ages and ethnicities. Perhaps most of all it is embodied by Randolph herself, MTM’s executive director, who conceived, directed and produced this world premiere despite the restrictions of COVID-19. True to MTM’s mission she persevered to create an educational and entertaining evening that celebrates women of all identities; local, female musicians and composers; and performers playing roles and telling stories that are far from stereotypical. An inspiring collage of struggle and triumph, Trailblazers is an extraordinary ode to many brave women who have made (and are still making) a better world possible.
Over the course of the hour-long concert Randolph gives background information and context for the pieces, supplemented by photographs of each song’s subject, whether historic or contemporary, famous or unknown. Recorded as a socially distanced concert at Café Coda, the set is a simple stage occupied by a piano, with performers singing solos to an empty room. Some are in costume: a black robe and beaded while collar for Ruth Bader Ginsburg; a yellow rain slicker and protest sign for Greta Thunberg; a vintage dress and typewriter for Lisa Ben; and a simple floral top punctuated with a flower behind the ear of the last princess of Hawai’i. Some are in nondescript clothing that lets the character speak for herself.
In an interview prior to opening night, Randolph said that she would love to see 11 new Broadway musicals telling the rest of the extraordinary women’s lives and accomplishments. And I agree wholeheartedly that these songs should be part of a larger whole. The most successful pieces focus on important turning points in the subject’s life instead of trying to fit an entire biography into five minutes, and many sound like fantastic “I want” songs that are dramatic staples of the genre. Musically they range from jazzy to Sondheim-esque. Some incorporate musical styles of the subject’s time period, some simply sound like show tunes.
Although all of the work was polished and professional, some performances lifted the material to an even higher level. Stand-outs in the program include:
Kelsey Anne Johnson brilliantly performs “The Young Are At the Gates.” This is the story of nurse and suffragette Lavinia Dock, with music and lyrics by Johnson and Jennifer Hedstromby. Wearing a simple gray sweater and black skirt, Johnson starts the show on a very strong note. Her gorgeous voice caresses the refrain, looking ahead to a time when younger girls will benefit from Dock’s efforts. Rejecting the praise “she could be a remarkable wife,” Johnson’s Dock ends the song triumphantly encouraging youths to not simply gather at the gates, but to “march through them!”
Much like the internationally known climate activist Greta Thunberg, Grace Halverson is poised and earnest in “Homework,” describing the young Swede and her cause. With music by Mark Wurzelbacher and lyrics by Erica Berman and Wurzelbacher, the song posits that if adults would do their homework on climate change, students like Thunberg could get back to school to do hers. Halverson, a determined young lady with a small but clear, strong voice captures the same energy as Thunberg as she defiantly holds her protest sign up to the world.
Elayne Juten embodies Amelia Earhart’s lofty aviation ambitions in “Fly High,” with music and lyrics by Lili Pierce and Allison Keller. The beautiful melody elegantly supports Earhart’s dream of “being more than just baggage,” asserting “I want to fly.” Juten’s voice easily modulates from soft and pensive to bold, although she was a bit overwhelmed by the final note.
Kailea Saplan portrays Princess Ka’iulani in “Hold on Hawai’i,” with music by Meghan Rose and lyrics by Rose and Saplan. Telling the largely unknown story of the last ruling royal family member in Hawai’i, Saplan portrays the young monarch with subtle strength and aching vulnerability. As a Filipina-American actor who was born and raised on the Island of Hawai’i, Saplan deftly communicates Princess Ka’iulani’s plaintive plea for her country to “hold on” until she can return from her diplomatic efforts to preserve its sovereignty.
Do not miss this moving tribute to trailblazing women. Stream the show on Fridays, Saturdays and Sundays in November and December by visiting MTM’s website. The suggested ticket price is $10 per viewer. Pay-what-you-can tickets are also available.
