David M. Lutken embodies Woody Guthrie joyfully as he passes on the causes and feelings in both Woody’s songs and his life. He’s on a constant journey communicating to and about people, especially the deserving but unheralded common folk, all over the world. His high-stepping and mood are remarkable considering his ballads present so many tragedies from his own life’s start and end, as well as his countryfolks’ political, social, and economic ones.
Set and props for Woody Sez set the story perfectly. In the background are scenes of land worked and travelled. Hanging photos show Woody, a sketch of a woman, a group of the people he felt for and with, a poster with a slogan. Props fill the stage: wooden boxes like trunks, a low platform, and a variety of instruments--from a relatively obscure autoharp to a bass viol and fiddle and more than one guitar.
Lutken chats up the audience for a friendly beginning. He’s joined by the instrumental virtuoso David Finch (who at one point plays spoons), a sturdy-housewife type but extraordinary fiddler Darcie Deaville, and a wispier blond Helen Jean Russell. The last has the flimsiest presence, which serves her well when acting Woody’s pretty-but-insane mother but suffers in the volume of her singing. Mostly, though, the women, unlike Lutken and David Finch, are performing--not being--the characters who sing their songs.
“This Train is Bound for Glory” sets off the 25 songs of the revue and Woody’s travels, eventually all over the world. “This Land Is Your Land” ties together the narrative of Woody’s life and of his times. (The1930s and ‘40s are particularly vivid, with social movements and wars important to him.) “The Ballad of Tom Joad” mirrors Woody’s role in representing the powerless working poor. Specific biographical locales come alive in “Talkin’ New York City 1940” and “Talkin’ Dust Bowl” in Act I; “Columbus Stockade” and “Pastures of Plenty” in Act II.
It’s ironic that a touring production more truly fits Asolo Rep’s five year exploration of the American character than some of the earlier home-grown plays and musicals.
There’s irony, too, in housing the effectively simple production in the rather sumptuous atmosphere of the Mertz Theater originally built in Scotland by the financier Carnegie (not a friend--like Woody--of unions). Woody Sez might well have benefitted from a more intimate setting, especially in a few instances calling for audience interaction.
The outstanding features of the show are the music and the musicianship. It may be interesting to watch David Lutken’s career to see if it morphs into embodying Woody. Lutken seems to be off to a formidable start on it with this production.
