From left, Melanie Vitaterna, Mallory Newbrough, Dennis Fuller, Nate Promkul, Jenn Chandler and Stephen G. Anthony in "Hundred Days" at Actors' Playhouse at the Miracle Theatre. (Photo by Alberto Romeu).
“We’re getting married,” a young groom-to-be enthuses to his beloved as he looks forward to his wedding.
“And then we’re going to die,” the bride-to-be responds, but not in the kind of voice you might expect. Indeed, she declares the aforementioned bravely, as though death doesn’t scare her for one second. It appears she has radically accepted her mortality -- and is just daring death to try to ruin her and her hubby’s happiness.
By the end of the indie-rock musical “Hundred Days,” you can conclude at least one thing; Shaun Bengson’s positive outlook has changed his wife Abigail’s attitude for the better.
Yes, “Hundred Days” deals with death. But this lively and refreshing less than 90-minute show without intermission is hardly depressing. Rather, the musical, with its infectiously rousing music, carries the energizing effect of caffeine. Also, well placed humor helps to lessen the effect of the sometimes dark material. True, the Bengsons’ story isn’t groundbreaking or entirely original. But it’s a show that reminds us of the power of positivity and the human spirit.
“Hundred Days” asks how we can make the most of our time…and not let past, present, or possibly future upsetting experiences control us to the point that we constantly worry.
Mallory Newbrough as Abigail and Nate Promkul as Shaun in "Hundred Days" at Actors' Playhouse at the Miracle Theatre, Coral Gables. (Photo by Alberto Romeu).
What would you do if you learned you had 100 days to live, the musical’s librettists, the Bengsons and Sarah Gancher, ask us to consider. Chances are, you’ll walk away not only rejuvenated and in thought, but hearing in your head at least one of the show’s energetic numbers. That song, titled “Hundred Days,” may move you to sing along, clap your hands, and stomp your feet. While some songs, such as the title number, are stimulating with an infectious beat, other numbers are romantic, quieter, and contemplative. Still others are haunting, suggesting a fever dream or nightmare.
In addition to creating the musical, the Bengsons typically appear in their show as themselves. But in Actors’ Playhouse’s production, talented South Florida performers Mallory Newbrough and Nate Promkul believably portray Abigail and Shaun Bengson, respectively.
The Bengsons perform with their band, and Actors’ Playhouse has assembled a six-person cast to portray that band. In addition to Newbrough and Promkul, the rest of the cast (or band) comprises Stephen G. Anthony (Reggie/featured vocals and bass), Jenn Chandler (Colette/vocals and cello), Dennis Fuller (Danny/vocals and drums) and Melanie Vitaterna (Barrie, featured vocals and accordion).
Actors’ Playhouse Artistic Director David Arisco and production music director Dominique Scott had just about three weeks to turn the six performers into a unified live band. And judging from the reviewed performance, you would think that these six performers have played together for years as a cohesive band. They sing and play in sync, and beautifully complement each other. No one member drowns out the others.
Melanie Vitaterna is Abigail' and Stephen G. Anthony is Reggie in “Hundred Days” at Actors' Playhouse at the Miracle Theatre. (Photo by Alberto Romeu) .
Through 17 songs, “Hundred Days” briefly recounts the Bengsons’ lives before marriage, how they met, and Abigail’s innermost thoughts. In addition to playing and singing the songs, the couple banter with each other and bandmates, and break the fourth wall by interacting with the audience.
To Arisco’s credit, band members do not just stand in one place while playing and singing. In fact, Arisco has staged the piece in such a way that cast members walk around the stage while performing, and even off the stage. They come out into the audience, and Abigail and Shaun sit on the steps or the edge of the stage for some of the dialogue. Actually, we feel as though we are their friend and we’re visiting with them.
Without question, the librettists didn’t structure “Hundred Days” as a traditional musical. For starters, the show does not proceed in a linear fashion. Rather, the musical jumps in and out of dream states. In fact, you may have a hard time determining which scenes take place in the past and present, which moments are part of a dream, and which happen in real life.
You could say that “Hundred Days,” which takes place in New York City, is a dream-like, or nightmare-like journey into Abigail’s mind. When she was 15, something tragic befell her family (she never specifies what it was). During her teen years, she dreams about getting married and shortly after the wedding, losing her husband to sickness.
Years later, Abigail meets Shaun at a band’s first rehearsal and marries him three weeks later. But she has trouble focusing on the present; she fears that something bad will happen to him. “You should know that everyone I love gets sick or dies or goes mad,” Abigail tells Shaun.
But Shaun counters with a more upbeat, humorous response. For instance, after the two rear-end a vehicle on their way to a band performance, Shaun ends up in the hospital.
Abigail: What if the doctor walks back in here and says you have a hundred days to live?
Shaun: I think I’d say, ‘That’s a really specific number.’”
Also, Shaun comes up with a method of making each day seem longer than it actually is.
While Shaun is generally sunny and optimistic, his life before he met Abigail wasn’t all roses either. We learn about his upbringing and his pre-marriage life in addition to Abigial’s past. But we don’t learn anything about the other bandmates, other than their first names. Truthfully, it would be nice to learn something about them and how they are connected to Abigail and Shaun.
Parts of the show are easier to understand than others. For example, during the number titled “Vows,” the couple sing, “take my pride and lay it at your feet. A woven mat to keep you you.” It’s not clear what they mean, but it’s likely symbolic. However, what the symbolism is unclear.
What’s always clear and crisp are the lines of dialogue and lyrics, thanks not only to the actors but sound designer Reidar Sorensen. His job was to ensure that the vibrant music never overpowered the performers’ voices, so that you couldn’t understand what they were singing. Kudos to Sorensen for a job well done.
Speaking of the performers, the chemistry between Newbrough and Promkul is strong; they are believable as two young people in love. And not only do they speak affectionately to each other, but they touch each other in ways that convey genuine love.
Promkul, a lively, dark-haired young performer with an easy smile, radiates positivity and sincerity through spoken and sung words. His pleasant and strong singing voice is clear in the upper register and while hitting lower notes. And Promkul, who plays the guitar, does so impressively, switching seamlessly from one chord to another.
The ensemble cast of "Hundred Days" is, from left, Melanie Vitaterna, Mallory Newbrough, Dennis Fuller, Nate Promkul, Jenn Chandler and Stephen G. Anthony at Actors' Playhouse at the Miracle Theatre. (Photo by Alberto Romeu).
Newbrough, with wavy blondish hair and dark eyeliner around her eyes, looks a bit like a free- spirited rebel as Abigail. And the performer exudes confidence as well as enthusiasm while talking to us. But as Abigail’s true tale darkens, Newbrough’s eyes widen and a sense of vulnerability creeps into her voice. Also, her facial expressions believably convey dark, intense emotions.
The music moves Newbrough – literally. She not only clearly and powerfully sings but moves to the vibrant music. Like the other characters, Abigail’s musical range is wide. Unquestionably, Newbrough nails her character’s highest notes, as well as the lower ones.
Newbrough, as lead vocals, sings the majority of the music. Therefore, she must maintain stamina through sometimes two-show days. To her credit, the performer looked just as energized at the end as at the beginning of the reviewed performance.
The supporting cast succeeds as well; they prove to be at least double threats with their singing and playing abilities. But again, it’s too bad that we don’t learn more about their characters and their connection to the Bengsons.
The cast performs on scenic designer Jodi Dellaventura’s simple, realistic set. It is spacious, inviting, and filled with just enough detail to place us in a setting that suggests an underground Greenwich Village club.
Musical instrument and road equipment cases double as the benches of a diner booth, an emergency room bed, and a doctor’s office examination table. Meanwhile, dotting the floor are patterned rugs that suggest a rock band’s stage.
Eric Nelson’s lighting includes hues of various colors, and the intensity varies. For romantic scenes or those taking place in Abigail’s mind, the lighting is appropriately dimmer than for realistic scenes. The lighting equipment actually moves, adding extra energy to the production.
Ellis Tillman designed costumes which seem appropriate for the characters. For the modest Shaun, for instance, darker, more subdued clothes are a good fit. For the more emotional Abigail, a short skirt recalling a Sex Pistols’ album cover with phrases such as “Love Hurts” and “Everything’s Gonna Be Alright,” makes sense. Perhaps Abigail needs to see such phrases as “Everything’s Gonna Be Alright” for reassurance.
And what happens when everything is not gonna be alright? The couple sing that they have to take the good with the bad.
“What else can I do?” they sing in a happy, confident tone, refusing to be bitter or feel sorry for themselves.
IF YOU GO
- What: “Hundred Days.”
- When: Through Sunday, Aug. 4. 8 p.m. Wednesday through Saturday, with matinees at 3 p.m. Sunday.
- Where: The Miracle Theatre, 280 Miracle Mile in Coral Gables.
- Tickets: Prices range from $40 to $75. Tickets (305) 444-9293, visiting www.actorsplayhouse.org, or at the box office. Actors’ Playhouse offers 10 percent off all weekday performances for seniors and $15 student rush tickets to any performance 15 minutes before curtain with identification.
