After reviewing the Legacy Theatre’s recent production of “The Great American Mousical,” I was inspired to read the novel for young readers published in 2006 that inspired the musical version.
The novel for young readers was written by Julie Andrews Edwards and her daughter Emma Walton Hamilton. The black and white illustrations throughout the pages were drawn by Tony Walton. The book is part of The Julie Andrews Collection. The Legacy Theatre production was directed in Branford, CT by the iconic Dame Julie Andrews.
From the book jacket: “In this loving spoof of life in the theater, we join a delightful cast, follow a daring adventure, and welcome a brave new hero. This delicious tribute to the Broadway musical is written by two bestselling authors who have firsthand experience of this much-adored world.”
The authors and illustrator dedicate the book to “our fellow ‘animals’ with love and respect.” The 15 chapters are labeled with theatrical terms in the order of a theatrical performance.
Before the first chapter, the authors included a cast list, with the characters and their drawn “headshots” listed in order of appearance. The cast of 27 characters has been trimmed for the musical version, with several minor characters eliminated and two merged into one.
The leading characters that remain have the same names and personalities in the stage version. They are covered by twelve actors, as well as two ensemble members.
The characters of Enoch, the Stage Manager, and Fritz, his assistant, merge into the role of Toby. Bernardo, the Hairstylist does not appear, nor does the Producer Don Q.
Because the mice who make up the children’s ensemble have been cut, Little June and her Stage Mother were eliminated. While I understand that casting young actors in a live production can be challenging, it would have made the stage version more authentic while adding appeal for the children in a theater audience for the first time. The choreographer Sancho presumably did his work offstage, for he did not make the cut.
No actor is credited as Pops, the Stage Door Mouse, but I seem to remember an ensemble member covering the job. Charlemagne, the Set Designer, the Lighting Designer Lycus and Raoul, the Sound Designer also do not appear. Mrs. Anna, the Costume Designer, would have been nice to see onstage, for nothing more than to see her costume. And while the character of Ping appears riding a bicycle and not a “rickety old cyclo,” his uncle, the Apothecary, does not appear.
The “assorted humans” in the book have been cut to Father, Boy and Uncle Bernie.
The setting remains the Sovereign Theater on Broadway, a few days prior to New Year’s Eve, and various places in and around New York City. Some scenes have been cut, especially those that required a pretzel cart or mice being buried in the snow or blown out of a tuba.
Some of the riffs on Broadway titles remain, with the mice calling their performance “Broadway Airs.” The “Annie” homage and the scene from “Hello, Dolly” are seen in the musical as well, and it seemed to me that many more Broadway references were added to the stage version for theater geeks like me.
The script retains some of the lovely prose in the novel, but much is left on its pages. The authors set out to teach their readers about the world of live theater and they succeeded in doing so with plenty of charm. The stage production does the same as it entertains the adults who attend with their children.
The costumes designed by Jimmy Johansmeyer mirrored the illustrations in the book, even bringing them up to the next level because his designs could be in full color. The scenic designers manage to bring to the stage the lost baseball and the cheese in the mousetrap that snares Adelaide.
The cover of the program has the same color drawing as the novel, but the font of the title has been made more sparkly. The book contains a pretty comprehensive glossary of theatrical terms that would be great to include in a printed program.
Please note that any errors regarding the theatrical production that ran at the Legacy Theatre last month are completely mine, as I might not have remembered every detail of the adorable performance. Please check out my review of the musical here.
Some descriptions of the novel include the word “spoof,” but I would disagree. This is an engaging story packed with adventure, charm and New York City color. I recommend the 147- page book for young readers to young performers, of course, and anyone interested in learning more about the backstage goings on for many a theatrical production. Adults that appreciate live theater will enjoy the Broadway references in this love letter to the world of theater. There is a hardcover copy available via interlibrary loan from Mark Twain Library in Redding, CT.
