The new musical drama Troubadour doesn’t refer to any French medieval lyric poet or to a minstrel. Now designating singer-writer or recording artist, the word “troubadour” fits both a Southern American father and son in that titled show at Florida Studio Theater. Will they both contribute to country music? If not, why? If so, how?
Country music’s major star Billy Mason (rightly self-centered, by Scott Wakefield} is about to retire in Nashville, 1951. A big farewell event at Grand ‘Ole Opry will feature Billy doing his hits, with only son Joe doing his accustomed backup. Joe (talented Caleb Adams) wants to add to his legacy his own sound and even explore it further. That’s a problem.
Billy expects his son to retire from the musical scene when he does. He plans to send him to a Bible College. Maybe adding a religious motive to Billy dismissing Joe will underplay Billy retiring only because he’s not been physically able to go on as usual.
Joe needs to find means to pursue his musical career on his own. Fast. Timely help for Joe comes from Inez, a scared Alabama writer of songs meant for him (by winning Sarah Colt), and Russian-Jewish immigrant Izzy (Sheffield Chastain, adding to his sterling FST acting record). A tailor, he longs to design spectacular clothes.
In a few days, the three produce songs, suits, and psychological help for Joe. (An attempt to woo Joe by Ludee added a really unneeded role but is valiantly played by Deanna Ott.) The progression of songs from early “Father and Son” through “Plain and Simple” to “God Made Rhinestones” reflects a plot progression of country music.
In addition to guitar music by onstage Billy for himself, there’s fine music throughout by a far upstage band at FST. Unfortunately, to keep them visible, the stage design requires many scenes to be played in most of center stage. The scenes in center have to be lit when in play but also with many props moved on and off and lit and darkened. This is bad design. Lighting design compensates a bit.
Moving and explaining action throughout is Pooch Johnson (effective Kevin Bernard). He conducts a popular radio show that often features the principals and even importantly interviews Billy Mason. Pooch dominates when at either down left or down right stage.
Director Kate Alexander makes the play’s themes clear. She gives each actor room to make motivated moves. It might be wished that she could have avoided so many center stage blackouts. Perhaps best accomplishment is that she’s seen that nostalgia doesn’t overwhelm the overall effects of Troubadour.
