In ‘The Spitfire Grill,' character comes first in a story about a troubled young woman
'The songs [by James Valcq, with lyrics by Fred Alley] are really interwoven into the storytelling,' says Robbins, whose production runs at
Still, at a recent rehearsal, Robbins gives even a long scene of dialogue a sense of rhythm and movement, as her ensemble marks their entrances, exits, and interactions at the grill's tables and its kitchen. Nearly every member of the seven-member company involved in the scene moves effortlessly from one stage area to the next, while the conversation always feels natural.
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Although Robbins has built her reputation as an award-winning director skilled at flipping our expectations of what to expect from a musical ('
While Gilead includes stock characters, including the busybody, the bullying husband, the long-suffering wife, and the heroic sheriff, Robbins says none of them fit into musical theater 'types.'
'These are very real people, with very real flaws,' she says. 'Every one of them has made questionable choices and has something to hide.'
Kerry A. Dowling (seen most recently in SpeakEasy's
"The Spitfire Grill."
Jim Sabitus
Robbins says Dowling gives Hannah a level of gravitas. 'This is really a character-driven show,' Robbins says, 'so I needed to cast people who are strong actors first, and then can also sing. They know how to avoid caricature.'
The beauty of the story, Robbins says, is that Percy, as an outsider, helps the locals of Gilead realize the value and strength of their little community, while the citizens of Gilead find the courage to open their hearts to the stranger and help her get a second chance.
'When we were selecting plays for the season,' says Umbrella Stage artistic director Brian Boruta, 'we wanted to strike a balance with the mood of the moment. We decided to lean into the noise of the election with 'Network,' and then, with 'Spitfire Grill,' remind audiences of the power of community spirit to bring people together.'
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Award-winning designer Janie Howland has created a set that straddles the musical's interest in placing one foot in care-worn reality and another in possibility. While the Spitfire Grill area is realistic, the walls framing and dividing the area are jagged and incomplete, like puzzle pieces that don't quite fit.
'Everyone needs redemption,' says Robbins. 'What I love about 'The Spitfire Grill' is that – like Janie's set – the puzzle pieces, and these people, may be getting closer to completion, but they aren't there yet. At the end, not everything is tied up neatly, but that's life.'
THE SPITFIRE GRILL
Presented by Umbrella Stage, at
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