Cheeky Humor and Fanciful Puppets Highlight Skylight’s ‘Candide’

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Photo by Mark Frohna

Skylight Music Theatre ‘Candide’

Skylight Music Theatre's ‘Candide’

When preparing for its 64th season, the Skylight Music Theatre’s Artistic Director Michael Unger reached back to the Covid lockdown of 2020 to resurrect their production of Candide. This splendid operetta has origins that can be traced back to the 1700s. That’s when Voltaire, one of the finest writers of his time, penned this scandalous novel that mocked high society, the church and all established institutions. Although it was banned upon publication, the book became a huge hit with readers and basically became a best-seller.

The version of Candide that currently graces Skylight’s lovely Cabot Theatre stage is a far cry from what Voltaire could have imagined. He may have recognized his characters and a basic outline of the plot, but the similarities end there. There have been myriad revisions of Candide over the years, involving some of the most famous names in music and theater at the time. A Broadway adaptation directed by Hal Prince in 1974 was the first version that took the operetta to the status of a hit show. It featured music by Leonard Bernstein and a script (mostly borrowed from an earlier version) by everyone from playwright Lillian Hellman to Dorothy Parker. Even the famed master songwriter, Stephen Sondheim, got in on the act. The book is by Hugh Wheeler, and this varietion also credits John Caird.

The Best of All Possible Worlds

In Skylight’s version, the show is transferred from the 18th century to the 1950s, an age of relative complacency and conformity. The tale focuses on several innocents, who are being instructed by Dr. Pangloss (Michael Varela). Among his students are a strapping youth named Candide (Sam Simahk), the lovely maiden Cunegonde (Susie Robinson), her brother Maximillion (Doug Clemons) and a serving girl, Paquette (Samantha Sostarich). Under Pangloss’ teachings, they learn that “everything is for the best in this best of all possible worlds.” This blanket of unbridled optimism envelopes them in a cocoon of contentment.  

Things change suddenly when Candide, a bastard, is found kissing and fondling Cunegonde. The two have pledged to marry one another (after only one brief kiss). The baron and his sniveling son, Maximillian, are livid at discovering this development. (Of course, the lowborn Candide would be an unsuitable match for Cunegonde.) Candide is thrown out of the kingdom.

In the great wide world, Candide and friends are confronted by all sorts of obstacles that weren’t referenced in Pangloss’ teachings. They must deal with soldiers, war, syphilis, pirates, plague, cannibals and so forth. The naïve Candide is forced to follow a more pragmatic course to survive. Through it all, he longs more than anything to be reunited with Cunegonde. 

Candide is best-known for its brilliant score by Leonard Bernstein. The music is lush and rich, tapping into elements of musical comedy and opera, but also jazz, neo-Baroque and even the tango. The lyrics (many contributed by Sondheim) are brilliantly woven into the tale. One can easily imagine traces of Gilbert and Sullivan. 

In the show’s single biggest number, “Glitter and Be Gay,” a bemused Cunegonde (Robinson) surveys her situation. She has been repeatedly “ravaged” by soldiers and then splits her time between two wealthy and powerful men. As she covers herself with expensive jewelry, she sings, “Can the brightest broach/Shield me from reproach?” These clever lyrics are evident throughout, especially in a surprisingly upbeat number about abuse delivered by the church, called “(What a day for an) Auto Da-Fé.

Voltaire seemed to smooth over the many injustices done to women in Candide. In addition to multiple “ravaging’s,” one of the women even was disfigured when, as a captive, one of her buttocks was cut off. Played with a brilliant deadpan demeanor, the Old Woman (Sara Stern) launches into the long tale of how she lost part of her anatomy.

Candide itself runs very long, close to 2 hours, 45 minutes (including an intermission). Despite the wealth of intriguing tales that take place throughout the show, it does drag a bit at the end. Act II lacks a number to equal the Act I showstopper, “Glitter and Be Gay.” It does end on a thoughtful note with “Make Our Garden Grow,” in which Candide and company realize that they must focus their attention on things they can control.

Director Keeps Candide’s Travels on a Brisk Pace

Director James Ortiz keeps things moving at a quick clip (despite the fact there may be too much story to tell). He works well with his relatively small cast of 11 (this causes most of the cast to don multiple parts during the production). Some of the characters fly by so fast that we hate to see them go. Two in particular are the baron and his son, Maximillian. Those two villains had a lot of potential. Even Pangloss, one of the key characters, doesn’t stay center stage for long. He manages to survive a hanging (spoiler alert) but is eventually done in by a natural disaster.

The giant puppets created by Ortiz bring a lot to the production. They are a clever distraction and also serve as a way to “expand” the small cast. One large puppet represents the Inquisitor, while another is a wealthy businessman. A few smaller-scale (but no less delightful) puppets appear briefly. All the puppeteers work in precision to ensure this aspect is flawless.

The cast itself may be less than dazzling, but just keeping up with the difficult score is a triumph in itself. Candide’s quirky rhythms are extremely difficult to play (a nine-member orchestra under Music Director Jeffrey Saver) as well as to sing.

Standouts in the cast include Sam Simahk as the wide-eyed Candide; Susie Robinson as his love interest, Cunegonde; Samantha Sostarich as Paquette, the frolicsome maid; Shawn Holmes as the comedic Cacombo; Sara Stern as The Old Woman (who is missing one buttock); and Andrew Varela as Dr. Pangloss. The cast also includes Doug Clemons, Ben George, Nathan Marinan, Lydia Rose Eiche and Molly Wiley.

The operetta is set under a large arch, trimmed with large lightbulbs (set by James Ortiz). On one corner of the arch, the moving eyes of Voltaire seem to watch every aspect of the show. Some of the cartoonish elements are combined with surreal ones, such as a large lightbulb that drops down over the stage. Complementing the set is lighting by Maaz Ahmed and projections by Taylor Verrett. Sound is by Chad Parsley, with a seemingly endless parade of colorful costumes by Shima Orans. Ryan Cappleman is the show’s choreographer. Wisely, he allows Candide’s beautiful music to dominate the stage for all but a few moments.

“Candide” continues through October 29 at the Cabot Theatre in the Broadway Theatre Center. For tickets, contact the Skylight box office at 414-291-7800 or visit skylightmusictheatre.org.