Move over Afroman, wherever you are. It’s time for Reefer Madness to Bogart the pot-culture spotlight. The award-winning, pro-cannabis musical is currently in the midst of its Canadian premiere right here at U of T’s Hart House Theatre.
At the helm of this take-off on the hit cult film is U of T alumna Elenna Mosoff. Her fourth production at Hart House in as many years, Reefer Madness is far and away her most professional and well-executed effort to date. Featuring a cast comprised of music theatre pros and U of T students, this musical offers up a hilarious romp through all the usual pot and cold-war era mental hygiene jokes. Despite the familiar terrain, this show proved to be an instant hit with the large audience, thanks to Mosoff’s excellent direction, strong technical elements, and seemingly flawless performances from an outstanding ensemble cast.
Maybe there was something in the air that night, but in my four years reviewing theatre here on campus, I’ve never seen any show at Hart House get the kind of audience response that Reefer was able to win from the near-capacity Friday-night crowd. While the subject matter pretty much makes writing jokes the literary equivalent of tee-ball, the comedy was perfectly timed and every joke seemed to land with maximum impact.
Set during the squeaky-clean height of America’s Red Scare, Reefer Madness is the story of young Jimmy Harper’s tragic descent into sex, theft, and murder, all caused by a malicious marijuana pusher and his band of weed-addicted groupies.
The action is introduced and narrated at points by a lecturer, who’s attempting to educate the audience about the inherent evils of reefer, as he illustrates the drug’s uncontrollable side effects.
Played by Andrew Moyes (who wowed audiences as Dr. Frank N. Furter in Mosoff’s last Hart House production, The Rocky Horror Show) the lecturer was in every way the epitome of the all-American, bible-thumping suburban zealot. Somewhere in between Agent Smith from The Matrix and a southern baptist preacher, Moyes’ principal character (he also hopped into about seven different supporting roles) was perfect. The way he looked, his manner of carrying himself, the timing of his actions, and his periodic bursts into unbridled fury were executed with the mastery of a talent that few actors possess today. The result was pure hilarity, and was easily worth the price of admission to witness.
There was even a moment, when his character was explaining to the audience why his moral compass wouldn’t allow him to describe the explicit ins and outs of prison sex, (which is caused, of course, by smoking pot) that someone in the audience, who obviously wanted a more detailed account, shouted “Boo!” While the whole room was in stitches, Moyes, alone in a spotlight, maintained total control and never once gave in and broke character (although the trained eye could tell that it was a good fight!). He even followed it up with the ad-lib quip “you can see me about that after,” which scored an even bigger laugh.
Dramatic and technically complex combined lighting and music cues were nailed every time, which added nicely to the over-the-top, sensationalist atmosphere. The rotating stage was also a smart bit of practical eye candy, which worked seemlessly. In an improvement over some of Mosoff’s previous productions, the cast turned in pitch-perfect vocal performances, even though the songs themselves weren’t necessarily highlights.
Some weak stage slaps, poorly executed “gunshots” (attempting to recoiling a pistol in time with a sound effect of a gunshot is nearly impossible and never, ever, looks convincing) and a small mic issue near the end of the first act were all small obstacles that could use attention if this show is ever re-mounted (and it easily could be). Also, as talented as the orchestra was, putting them on stage only served to distract from the business of the actors. It would be better just to use a pit.
Despite the entire cast being the strongest ensemble I’ve ever seen at Hart House, stand-out performances were given by Adam Barrett, who was incredibly funny to watch as Ralph (hats off for the baby song), David Pereira, who played Jesus in televangelist mode (complete with moving crucifix and bloody spear wound) and Benjamin Mehl, who was great as the ill-fated and transformed Jimmy Harper.
While this show may not be as cerebral as multi-layered classics like A Chorus Line or Cabaret, it is an example of top-shelf stagecraft, and a guaranteed good time.
Reefer Madness runs this Wednesday to Saturday (with a second midnight finale on Saturday) at Hart House Theatre.
