How fitting that the fixed part of Florida Studio Theater’s set for Ring of Fire is of Cinnamon Hill, a station. It symbolizes the long life’s journey of Johnny Cash, both personally and as creator, director, and performer of song. With guitars and bass on its posts and also instruments—many unconventional—on levels of platforms, leading to a wide proscenium, the variety of Cash’s music gets matched along with renderings of it.
With Scott Moreau, justly reputed experienced Cash portrayer, a supporting cast of only four shows amazing virtuosity in using different instruments and assuming roles of people in Cash’s life. The one most important to it, June Carter Cash, gets a co-star treatment from Elizabeth Nestlerode. Her most unforgettable acted scene may be that of meeting Johnny as he’s released from the Folsom Prison he later memorialized in song. After they marry, she nicely shares in duets with him. His best-known tribute to her is “I Walk the Line.”
Katie Barton’s roles include being in “Country Boy,” Cash’s Arkansas family, and imitating Minnie Pearl at the time Cash sang at Grand Ole Opry. Opening night FST’s audience greeted Minnie’s appearance as if she were actually there! And did it seem like “Egg Suckin’ Dog” was still around? Happily, a change of pace comes with Moreau’s Cash musically describing “Big River.”
Eric Scott Anthony fills a number of roles as a singing baiter and antagonist of Cash, but he also displays a strong personality of his own. He and a milder Morgan Morse come off beautifully on drums, banjos, and small-to-large guitars. The men are essential in such numbers as the Opening Medley, “Five Feet High and Rising,” “Get Rhythm,” “Oh Come, Angel Band,” and the opening and closing of Act II.
Scott Moreau is at the peak of Cash’s life’s journey in Act II with “Man in Black,” dressed appropriately and using a black guitar. His other highlights are “If I Were a Carpenter” and “A Boy Named Sue.” Moreau establishes a satisfactory personal life for Cash and recognition of him as a master and creator of important kinds of American music.
Ring of Fire benefits greatly from the creative lighting scheme of Andrew Gray. It not only establishes place and mood but properly directs audience attention. Thom Korp’s sound could not be better with its many differing intensities. Katie Barton’s costuming is just right for each personality, place, and time.
Director Ben Hope displays great familiarity with Ring of Fire and in coordinating all aspects of the FST production. Although the program lists no choreographer, I suspect he’s at least the equivalent of one, since his cast handles so much motion so well. He deserves praise also for how all the complicated technical details seem to knit together so naturally.
