Nashville on Stage "Francis of Guernica" by Bill Dorian 
 
   Actors Bridge Ensemble has mounted one of the most creative and innovative productions yet seen on a Nashville stage with Marcus Hummon's original musical "Francis of Guernica."
   Based on a painting by Picasso about the historical bombing of Guernica by Nazi planes during the Spanish Civil War, Hummon has written a contemporary folk/rock operetta that pulsates with energy and vitality -- while also making significant observations about the resiliency of the human spirit.
   Capitol of the Basque province of Spain, Guernica was used by Hitler (and his Spanish puppet Franco) to test the effectiveness of the Nazi air force.  Guernica was reduced to rubble within a few hours, and one-third of its population was obliterated from the face of the earth.
   Hummon fictionalizes the events surrounding Picasso's creation of the antiwar masterpiece, and then weaves a fascinating fantasy about a young idealist and would-be saint named Francis into the whole Guernica tapestry.
   His story is based on history, yet there is nothing pedantic about it. His characters are vibrantly universal and more importantly totally "human." The romantic relationships seem completely modern, and the situations within which the characters find themselves are easily identifiable.  Not always an easy job when fictionalizing history.
   There are actually two parallel stories. The first is the tale of how Picasso was moved to immortalize the bombing of Guernica in his fabulous mural. We are introduced to his doting (and abused) mistress Dora. And we are also shown a group of clinging disciples -- lesser artists and painters who hover about the master in hopes of obtaining his favor or some small
recognition.
   The principal among these artistic parasites is an American artist named Brighton Mather, who also serves as the narrator of the action.  The story begins with Mather as a middle-aged professor teaching her class about 20th century art. Then, through a series of flashbacks, we find ourselves in the Spain of 1936 -- both in the "court" of Picasso and then with a young
resistance fighter named Francis.
   Mather tells Picasso of the idealistic Francis who was wounded in battle against the fascists. Upon awakening, Francis displayed delusions of personal sainthood -- claiming to be St.  Francis of Assisi. He begins trying to rebuild Guernica, just as St. Francis rebuilt his church. He is assisted by a young Jewish girl named Renee who falls in love with the impetuous freedom
fighter, then is curiously still attracted to the delusional "saint."
   Mike Eldred is incredible as the starry-eyed Francis. Fresh off a run with the Broadway cast and touring company production of "The Civil War," Eldred brings a marvelous voice and finely honed acting skills to the part. His portrayal is sensitively revealing and multifaceted. His
idealistic young fighter is clearly etched and easily believable. His character's later transformation into a demented religious zealot is equally believable, and demonstrates a considerable acting talent. Plus, Eldred's singing voice is sweet and clear as a bell. A delightful performance.
   Likewise, Bill Feehely (who also directed the production) gives a naturalistically "real" performance as the great painter Pablo Picasso. By all accounts, Picasso was an egotistical tyrant who bullied everyone around him. Feehely's Picasso is an egocentric, creative genius who crushes the feelings of those closest to him as if they were of no consequence
whatsoever. He has created a totally unlikeable character, in sharp contrast to the beautiful art for which the painter is responsible.  Feehely's Picasso is brutal, unforgiving, and abusive.  Trust me, you won't like  him -- and that's to Feehely's credit.
   Michelle Prentice, as Renee, is riveting. Like Eldred, she has a truly phenomenal voice. It's easy to get lost in the tonal beauty of her songs, but she's not just a terrific singer. Prentice's acting skills are solid and distinctive. Her eyes are imminently expressive and convey deep,
heartfelt emotion. Many ingenue type actresses would play Renee as just the "girlfriend" and get away with it. However, Prentice makes Renee real -- a believable and touching three-dimensional character.
   Vali Forrister also gives a sterling performance both as the young disciple of Picasso and the middle-aged art history professor she later becomes. Her young Brighton mirrors the idealism of Francis as she swoons before the genius of Picasso. But Forrister also gives her
character a biting edge when she finally realizes that Picasso is draining the energy from
everyone around him with his verbal and physical abuse.  Forrister does quite a nice job of differentiating between the two "ages" of her character. Her young artist shows innocence and naivete, while her professor displays composure and assurance.
   Tracy Gershon is extremely believable in her acting debut as Dora, the much put-upon mistress of Picasso. Her vocal intonations and movements are natural and unforced, and if I hadn't read that she'd never done this kind of thing before I wouldn't have believed it. Her Dora is an individual buffeted about by the forces in her life, and Gershon makes this seem effortless.
   With such a large cast (14), I can only critique the major roles, but I also want to mention Mark Van Sickle who plays the priest Father Ignacio. First of all, I was very much impressed with Van Sickle's rich baritone voice which fills the hall. But I was also impressed with his acting ability. He has a few, short comic bits which Van Sickle works to humorous advantage -- and he also is quite accomplished at handling several dramatic moments in the priest's dialogue. Sometime I'd like to see Van Sickle in a larger role.
   Direction by Feehely is tight, well-paced, and quite innovative. It also should be mentioned that doing a large role in a production you're also directing is no picnic. I've been there. Kudos.
   I was also very much impressed by the choreography by Cara Rawlings. It blends in seamlessly with the music and action and is gracefully contemporary.
   Hummon's musical score has an urban folk/rock style that is stylistically delightful. Nothing against Andrew Lloyd Webber (king of the modern musical), but Hummon's musical touch is lighter and much less heavy-handed than Webber can be at times. Hummon's music is gently vivacious and, well, catchy.
   Acting as Co-Musical Director with Hummon, Andrea Zonn shows passion and expressiveness in the musical arrangements -- and, I think, develops Hummon's work deftly and gracefully.
   An original theatrical event to remember, I hope to see "Francis of Guernica" go on to bigger and better things in larger venues. Has anyone looked into renting a space in New York?
   For future production information, call Actor's Bridge at 341-0300.