Dark of the Moon Review – A bluegrass girl meets a magical emo boy and their music soars | Theater

TThe roots of this spiritual soul song lie in ancient British folklore but it seems like a love story of young people in small town America. Young, spiritual – and human – Barbara Allen (Lauren Jones) falls in love with John the Witch Boy (Glenn Adamson), from the Witches and Conjur People.

She is willing to anger her parents and neighbors in an Appalachian town to be with this mysterious man who has come from the Smoky Mountains and is said to have demonic powers. He is willing to give up his immortality to be with her for the rest of his life. They are all rebels, determined to be together despite criticism. The matriarchal wife Conjur (Josie Benson) throws down: if the two can be faithful for one year, John wins his death.

A generation that grew up with Twilight would be forgiven for thinking that the establishment was derivative but, in fact, Dark of the Moon came first. Written by Howard Richardson and William Berney as a play, it was first performed in 1942 and later turned into a musical. All the themes are there, from the danger of a young love that crosses all social boundaries – and death – to the bottom of the fear of sex and the need for loyalty. Jones brings a punk edge with a look not far removed from Kristen Stewart’s while Adamson seems to channel emo pop star power (jeans, braided hair and eyeliner).

It’s all amazing, but it confirms its eternal life through the power and personality of the music of Lindy Robbins, Dave Bassett and Steve Robson. There are clear performances throughout the ensemble, but they are enhanced and enjoyable throughout the production.

On the downside, Jonathan Prince’s book is short-sighted in painting Barbara Allen’s gang as good, the witches’ union as the big bad. The milieu is a mishmash of Walton Hill and Salem, a love story similar to Wim Wenders’ Wings of Desire in its quest to explore questions about time and death. But it lacks any meaningful information or depth. The worst is when Allen’s wannabe rock brother, Floyd (Wills Mercado), makes a song to be buried six feet under.

Directed by Georgie Rankcom, the love story is no longer lively, perhaps because it all seems so pointless. His lyrics are cheesy (“Yeah, life’s a wasteland and I’m a witch”) but they’re catchy and sing-songy with the twang of country and bluegrass as folk sings (in Ordinary Life and Wildflower for example) and glam-rock, electric guitar sounds on witches’ songs like Play Dirty.

The production is too silly to be the tearjerker it could be but it’s fun.