If you're wondering where to look for quality musical theater, the answer is the Huntington Theatre Company. Mary Zimmerman, known for adapting classical theater, directs Leonard Bernstein and Richard Wilbur's musical "Candide" based on Voltaire's novella, "Candide, oul'Optimisme."
Debuted in 1956, this incarnation successfully melds a complex score with genuinely witty lyrics, bold satire, boundless energy and even emotional depth. With aid from Zimmerman's new adaptations, Bernstein's upbeat score and Wilbur's lyrics salute and parody operatic style, adding a dimension to the satiric arc. Overall, the production pays homage to tradition while making the show engaging and accessible.
Candide, a young man living with his wealthy relatives, learns from the philosopher Dr. Pangloss that because God can create an infinite number of worlds — and they live on this particular one — that this world must be "the best of all possible worlds." This fatally optimistic mantra guides Candide's journey, even when he discards it in pursuing his cousin Cunégonde.
In exile, he travels the globe and discovers war, deceit, lust, greed and a fair deal of pessimism. Along the way, he picks up a few friends, makes a few enemies and eventually reunites with Cunégonde, her brother Maximilian and Dr. Pangloss. The show ends on a melancholy, yet appropriately optimistic note, as Candide and Cunégonde discover that although the world has its fair share of hardships, they can live happily together.
The ensemble and the principle characters seamlessly depict Candide's expedition. Geoff Packard, playing the title role, brings an appropriately youthful naivete to the part and performs the operatic score beautifully. Despite Cunégonde's shallowness, Lauren Molina endows her with an engaging energy, especially as she sings the faux aria "Glitter and Be Gay" from a bathtub. Larry Yando plays Dr. Pangloss as an endearing, if foolish, elderly gentleman overflowing with optimism — think Albus Dumbledore with more energy and less wisdom.
Other notable performances include Erik Lochtefeld as the flamboyant Maximilian, Tom Aulino as the pessimistic philosopher Martin and Rebecca Finnegan as the conniving Vanderdendur. The cast members impressively balance their characters' roles with ensemble cohesion.
"Candide" relies on wit and slapstick humor, but concludes with a tender, sincere turn. Worn from his travels, Candide has an epiphany, and announces, somewhat taken aback, that he is "no longer an optimist." Nevertheless, he realizes that relinquishing optimism does not equate misery. He and Cunégonde embark on a life together as they sing "Make Our Garden Grow," a heartbreakingly gorgeous song.
Packard sustains his energy throughout the show, conveying Candide's revelation with the emotional gravity it demands. His Candide hasn't lost his optimism — just his innocence. The song's rich orchestrations and aurally overwhelming harmonies are enough to soften any pessimist's heart.
While the performances shine, the artistic design needs fuller collaboration. The show begins in a drawing room where Dr. Pangloss preaches about optimism; after the lesson, Candide's world literally collapses. As he is thrown out of the house, a painted backdrop and cutout chandelier fall, leaving Candide alone on stage in a large, wood−paneled room. The set's vast, intimidating starkness conveys Candide's isolation and the shock he experiences upon entering the real world. Furthermore, the set adds a dimension, shifting from a flat backdrop to a deep room.
From there, instead of entirely altering the stage, the wood background creates a blank slate that allows single elements to set the scene. The wood panels are not entirely neutral, but they suffice. Some pieces add simple but substantial touches, such as a sign from a tavern that pops up along Candide's route, translated into the language of the country he's visiting.
In contrast, some pieces detract more than they add: for example, an actor wielding a "Lion King−esque" (1994) seagull on a pole when Candide travels by boat crowds. This piece of puppetry not only upstages the action, but also seems incongruent with the automated, mostly realistic scenery. Perhaps this prop would be more effective in larger venues, but it feels cramped on the Huntington's stage.
Another noticeable artistic contrast lies in the lavish, period−specific costumes; though beautiful, they clash with the scaled−down set. Individually, most of the design elements work well, but together, they seem out of place. The incongruent designs are not altogether distracting — they're just not as seamlessly executed as the performances.
Despite the mildly mismatched designs, this production successfully adapts Voltaire's novella and delivers solid performances. For both "Candide" aficionados and anyone looking for a fun theater production, "Candide" excels. Be prepared for a fun time, and don't be surprised when you find yourself moved.
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Correction: An earlier version of this article incorrectly stated that the Huntington Theatre Company was a part of Boston University. While they are in residence at Boston University, the Huntington Theatre Company is an independent organization.
