A revised working of the 2023 Broadway flop, Almost Famous, has opened A Contemporary Theatre’s eighth season. This loving coming-of-age story, based on writer Cameron Crowe’s own experience as a teen journalist following rock bands in the early 1970s, was a justly acclaimed film in 2000 starring Frances McDormand, Billy Crudup and Kate Hudson. The transfer to stage musical has been a rocky road for the story, but has it been redeemed now at the Ridgefield theatre? Yes and no.
Working with original creators Crowe (book and lyrics) and Tom Kitt (Music and lyrics), director Daniel C. Levine tells us in program notes that this “reimagining” of Almost Famous is now the version that will be used in all future productions. Having missed the Broadway show, I have nothing to compare, but reviews at the time called the musical “underpowered” and “a muddle”, relying too heavily on the original film with no voice of its own. In Ridgefield, I still felt there was much devotion for the film, and certainly Crowe has kept in several of the movie’s best sequences. No complaint from me. What gets lost is that our central hero seems to disappear in the shuffle by act two.
Set in 1973, Almost Famous introduces 15-year-old William Miller (an engaging Michael Fabisch), who is inspired by the rock bands of the era. He manages somehow to land an assignment from Rolling Stone magazine to interview the up-and-coming band, Stillwater, fronted by lead guitar Russell Hammond (charismatic Jack Rasmussen) and lead singer Jeff Bebe (Chris Cherin). Also in the mix is Penny Lane (Tess Marshall), a long-term groupie of the band, and William’s protective mother (Anika Larsen, terrific).
All the performances and voices here are down-the-line splendid, save for Chris Marth’s broad overplaying of Lester Banks, William’s cynical mentor played so memorably in the film by the late Philip Seymour Hoffman. Fabisch, in particular, does well enough here that ACT should already be considering him for the title role in their May production of Dear Evan Hansen. He’s ideal for that part, too. Marshall is a poignant Penny Lane, whose moving ballad, “Morocco”, is a highlight in a score that is otherwise rather meh. Thank goodness they have salvaged Elton John’s “Tiny Dancer” from the film version to end the first act on a high note.
One severe caveat for me was William’s seduction scene as he’s practically raped, all to a musical number by three of Penny’s girls. If the sexes were reversed, this would never be acceptable. I understand William losing his virginity is a key point, but it could be done with far more delicacy than is detailed here. The scene, as it now stands, needs to be seriously reconsidered.
Levin’s crackling good direction is bolstered by his excellent cast and design team. Video designer Camilla Tassi deserves high marks for her numerous non-stop period projections that define time and place so nostalgically. Leslie Bernstein’s costuming and Charlie Morrison’s ambitious lighting are faultless. Maybe not a musical for the ages, but ACT deserves plenty of credit for pulling out all the stops to make Almost Famous almost work.
Almost Famous continues at ACT, 36 Old Quarry Road, Ridgefield, Connecticut through November 23. For further information or ticket reservations, call the theatre box office at: 475.215.5497 or visit: www.actofct.org.
