"The Tale of Despereaux" reinvents the musical

Seven guys from Chicago have reinvented the American musical. Operating under the unlikely moniker, PigPen Theatre (Chicago), the prodigiously gifted seven classmates from Carnegie Mellon write, compose, produce, play instruments (violin, guitar, banjo, brass, assorted percussion), act, and sing like angels (as do the other players).

Performing as an ensemble (even their production credits are grouped under “PigPen”), the troupe was clearly influenced by the Berliner Ensemble, Bertolt Brecht and Moscow’s Maly Theatre, the latter brought here years ago by the Old Globe to its eternal credit.

If “Maly” is Russian for small, then PigPen echoes the concept: Performers play multiple roles in a single space wherein poles and wooden levels carry them up, down, under and across the stage; live shadow-play and projection on successive waves of fabric moves the story along; the virtuoso musical ensemble punctuates the action; and Isabella Byrd’s lighting is a veritable character.

Kate DiCamillo’s award-winning book, "The Tale of Despereaux" (Candlewick Press 2003) was wonderful on its own. In the hands of the PigPen Seven, it becomes pure magic. We attended a 5 p.m. matinee when a packed house, all ages, remained rapt, absorbed, from start to finish, in the presence of committed ensemble playing rarely seen in the American theater.

In the story mice are cute and affectionate (think pets), rats are awful and conniving (think bubonic plague); three characters lack parents and are adrift in an unforgiving world; class warfare ends equitably when the troupe gathers around a banquet table as the king (Arya Shahi, charming) serves them soup — and, in the story, soup is the great symbol of home, hospitality, safety and comfort. A golden bowl of soup makes the whole world kin.

But not before Despereaux (Bianca Norwood, a small person with big talent in her first professional role) takes on Roscuro the Rat (Eric Petersen, fabulous) in her knightly quest to save Princess Pea (Taylor Iman Jones, gorgeous in two roles) and along the way resolve the fate of serving girl Miggery Sow (Betsy Morgan, dazzling turns in three roles), realize that the “Stained Glass Knight” is breakable, and find not only her courage (“Mice are scurriers—they run from things”), but a place in the light.

There are no stars in PigPen, though Ryan Melia as the host/narrator/librarian/imprisoned Dad comes close. Perhaps the real stars are the clever puppets that function as extensions of Despereaux and Roscuro. This theatrical trope works brilliantly, for the stuffed rodents with their huge ears are the last word in imaginative charm. Lydia Fine and Nick Lehane are the puppet masters.

Director Marc Bruni and PigPen seamlessly pull together the many surprising elements of this unique show, set designer Jason Sherwood delivers a spectacular set—the soaring dining hall of the castle is ingeniously paved in plates, bowls and pots—while costume designer Anita Yavich devises medieval garb in richly harmonious colors that echo the set. Choreographer Jennifer Jancuska, sound designer Nevin Steinberg and music director Christopher Jahnke deserve special shout-outs for their outstanding work.

"The Tale of Despereaux" is onstage through August 11. Run, don’t walk. All good things come to an end and you don’t want to miss this.