Stage Review - The Fantasticks (Dukesbay Productions)

Stage Review - The Fantasticks
Presented By: Dukesbay Productions - Tacoma, WA
Show Run: October 24 - November 09, 2025
Date Reviewed: Thursday, November 06, 2025
Run Time: 2 Hours, 10 Minutes (inclusive of a 15-minute intermission)
Reviewed By: Greg Heilman

There’s something magical about experiencing a musical like The Fantasticks in an intimate space such as Dukesbay Theatre. The story, which follows two young neighbors, Matt and Luisa, whose fathers pretend to feud in order to make their children fall in love in a ruse orchestrated by the mysterious narrator El Gallo, who ultimately teaches them both the bittersweet lessons of growing up and seeing the world as it truly is, takes on a magical and intimate quality when told in a venue of this size. From the first notes of “Overture,” the audience is immediately drawn into a performance that feels organic, and deeply personal. In a time when most musicals rely on microphones to balance or enhance voices, it’s refreshing to hear a cast perform without them—to hear the natural tone, timbre, and color of each voice in its purest form. It’s the rare opportunity that an audience gets to hear a group of vocalists with this kind of talent where their voices aren’t subject to the alterations that occur when they are amplified. At the same time, though, it also presents a challenge for the director (Chris Nardine), music director (Deborah L. Armstrong), and cast to maintain a vocal balance on their own, without the ability to match volumes through a sound system. And this is perhaps the biggest positive takeaway from this production of The Fantasticks (which runs on stage in Tacoma through November 9): this group’s ability to manage and maintain a vocal equilibrium between themselves and the live musicians—piano and harp, both excellent in their accompaniment—and among themselves in all aspects of their performances, whether they be solos, duets or full ensemble numbers.

This achievement is especially apparent in the numbers involving the two fathers, Eric Strachan (Hucklebee) and Jed Slaughter (Bellomy). Their voices together in “Never Say No” and “Plant a Radish” are top shelf, with harmonies that hit every note and a balance that allows the audience to hear each individual voice regardless of where they are in the space or which direction they face. The same quality extends to the ensemble, where one actor steps forward as a featured voice and then folds seamlessly back into the collective sound; every part remains audible, and none ever overwhelms the whole. The music and vocal performances throughout this production of The Fantasticks are extremely well done.

Chris Nardine directs and choreographs with a light but confident hand, allowing the story’s humor and melancholy to exist side by side. The fight choreography, designed by Kyle Sinclair—who also plays the show’s “king of the pratfall,” Mortimer—is another standout. Kyle clearly has a knack for knowing what combination of movements will generate a laugh, both as Mortimer and through his staged combat. His swordfights in the abduction scene are some of the best in recent memory, striking a perfect balance of movement, intricacy, and humor without ever crossing into parody. Lighting, designed by Niclas Olson, serves as mood and metaphor: soft reds for conflict, a bluish hue to reflect moonlight, and delicate shifts that track emotional turns.

The production’s overall sound design supports this balance beautifully, with only one small exception—a brief moment when Grace Haeun Lee’s The Mute adds a wooden block to the musical texture that skews a bit loud in the mix. Otherwise, Grace’s performance is a joy to watch. Though her character never speaks, she drives the tone of the show through her movement, designed by Chris in his dual role as director and choreographer, her expressiveness, and through a physicality that radiates warmth and wonder. Her joy fills the room, her gestures punctuate transitions, and she serves as an unseen magician conjuring props—managed by Jeffery Swiney-Weaver—with perfect timing. Jeffery’s work with costumes is outstanding as well, giving Luisa a sense of freshness and innocence and El Gallo a Spanish-inflected air of mystery that suits the show’s romantic fable style, just to name two examples.

The cast overall is extremely talented, and from the outset it’s clear that Chandler T. Thomas is the one holding it all together. When he begins “Try to Remember,” there’s an immediate sense that this is going to be a special musical. Chandler’s voice is superb, his tone smooth and assured, and his stage presence commanding. He’s mischievous when the story calls for it, mournful in its darker turns, and joyous when the pieces come together—a top-notch lead performance that anchors the production.

Eric and Jed, as mentioned, are both strong singers and gifted comic actors, while their children—Clara Jordan as Luisa and Travis Tingvall as Matt—carry the show’s emotional center. Clara’s soprano is exceptional; she controls her power with finesse in the small space, her Luisa joyfully imaginative and endearingly naive. She plays every shade of the role beautifully and demonstrates a sharp sense of comic timing. Travis, as Matt, brings warmth and sincerity, though at times his softer projection made him harder to hear on Thursday, depending on his placement in the theatre. Where Travis really excels though is in his character portrayal—his intensity and quick bursts of passion evoke a hint of Jack Black’s physicality and charm, and his transformation from the innocence of youth to that of a more weathered young adult is quite well performed.

Rounding out the cast are Dale Bowers as Henry and Kyle Sinclair as Mortimer, the hapless duo brought in by El Gallo to stage the faux abduction. They are one laugh after another—Dale’s spontaneous Shakespearean outbursts are hilarious, and Kyle’s improvisational instinct keeps both cast and audience on their toes. Their scenes are perfectly timed comic gems.

The musical direction by Deborah L. Armstrong deserves special mention for its precision and sensitivity; the blend between singers and instrumentalists is pristine, every cue tight and supportive of the emotional rhythm. The harp, played by Jared Parsons, adds a dreamlike shimmer to the soundscape that suits both the whimsy and the melancholy of the story.

What Dukesbay has achieved here is a strong, and beautiful, reminder of what live theatre can do when stripped of unnecessary layers. The Fantasticks is a fable about innocence, experience, and rediscovery, and in this production, those themes are reflected not only in the performances but in the very act of presentation—voices unamplified, music live and intimate, storytelling simple yet profound. It’s a musical that feels like it’s being sung directly into your heart, and Dukesbay’s talented ensemble makes sure every note lands exactly there.

The Fantasticks, from Dukesbay Productions, runs on stage in Tacoma through November 9. For more information, including ticket availability and sales, visit https://dukesbay.org/.

Photo credit: Jason Ganwich