Pictured in “Logger Love Stories” are Sean Wagner and Ben Clifton. (Courtesy of Michael Fields)
It was only about seven months ago that Michael Fields staged his Longshadr company’s first, innovative, theater-of-place production in Blue Lake’s iconic Logger Bar. And, it was also a way to celebrate his personal purchase of the bar by creating an original work that would “star” his longtime, fellow Dell’Arte partner extraordinaire, Donald Forrest.
Titled “The Logger Lear,” it was indeed the perfect, artistic chance for Forrest to inhabit Fields’ own vision/version of Shakespeare’s aging king as he “ruled over” his favorite, drinking establishment — in the process of “toasting” his own wake among some of those whose lives, his life, had impacted the most.
And, in an unforeseen twist of fate, fiction became fact when Forrest suddenly passed away a few days later. A stunning, heartbreaking farewell that mirrored his final, brilliant portrayal of a character whose powerful persona was enriched with wicked wit and the resonant, unforgettable beauty of his voice’s insightful delivery.
So, how do you follow such a legendary artist in that same intimate, Logger Bar space? If you’re the intrepid Michael Fields, you do so by creating another outrageously unique show that Forrest would have loved, “The Logger Love Stories.”
It was a crazy quilt of unlikely, mostly-mismatched, first-time or old acquaintance lovers, singing their hearts out with well-known “bar-appropriate” songs played by the sterling in-house band. It was also a wild and wacky, audience-interactive, seamless series of scenes. To say that it was constantly, up-close-and-personal for all concerned is definitely an understatement — with director/actor and resident proprietor Fields behind the bar throughout as “ringmaster” of this rowdy, bawdy, “romantic” romp.
The 60-member audience was seated in two lines of chairs that stretched along the wall facing the bar (or sitting on bar stools along the bar, where I ended up sitting much “too close” to some of the actors than I intended). While the musicians and their instruments sat around the corner that curved around the bar — with a mic stand placed on the floor for all the singers to use (or record, when needed) for their solos.
Using the actual front and side doors in and out of the establishment for their often verbally bombastic entrances and exits, the supremely talented cast of veteran actors often “intermingled” with the seated crowd in the midst of delivering their lines and songs. (With surprising and hilarious results as they flirted, sat in laps and more.)
Above the top and fabulous at all times, here are the fearless, peerless actors and their characters: Shawn Wagner (June, a boozy babe who has apparently just left her husband and is loudly looking for a “new” man); Ben Clifton (Fuzzy, who just came in for a drink, but has now become June’s “love target”); Lynnie M. Horrigan (Big Lisa, the enraged, about to be dumped lover of Brenda); Cynthia Martells (Brenda, who’s obviously had enough of Big Lisa’s shenanigans); Alyssa Hughlett (Mabel, the “underappreciated” partner of Elvis); Evan Grande (Elvis, Maybel’s “insensitive, significant other” who constantly “comes on” to other women in the bar). And, scene-stealers Lynne Wells (Elsa, the upset, “better half” of an older couple whose “Casablanca-like” love story is “fading”) and Bob Wells (Rick, a “dapper, deliberate character reference” to that silver screen classic’s pair of “losing lovers”).
Lynne Wells’ Elsa also shares some downright lovely, a cappella renditions of snippets of her own, personal “favorites.” However, all of the characters have appropriate, famous songs they sing that reflect the collectively challenging romantic relationships they’re dealing with when they come into The Logger. (Sometimes inviting the audience to sing along with them when they want more “emotional, vocal support”).
And, (including singers from the band, Marla Joy, Tim Randles and Jeff Kelley), each member of the cast delivers impressive solo performances when it’s time to lament their individual, “love stories” in song.
In addition, the eclectic plot-lines were completed with strong, cameo appearances by “Bartender Fields,” late-arriving musician/singer, Jeff Landen, as The Ghost of Gino (accompanied by his bar-stool-sitting dog, Biscuit), and Lily Rich as The Door Singer.
And, here are the character-driven song choices that were so cleverly interspersed throughout the show: “Dance Me To The End Of Love” (Leonard Cohen); “I Love This Bar” (Toby Keith); Cuz Cheap Is How I Feel” (Cowboy Junkies); and “As Time Goes By” (Dooley Wilson). “Fuel For Fire” (M. Ward); “Lucille” (Kenny Rogers); “It’s A Heartache” (Bonnie Tyler); “Third Rate Romance” (Sammy Kershaw); “When Will I Be Loved” (Linda Ronstadt); and “Home” (Phillip Philips).
The band that played them all so well featured musical director/keyboardist, Tim Randles; Mike LaBolle, percussion; Marla Joy, Bass/flute; and Jeff Kelley, guitar.
Inventively directed by Fields, the technical team included costume and set design by Horrigan; sound design by Kelley; lighting design by Mike Foster; and stage management by Rich, assisted by Lisa Smith. And their essential, combined talents enhanced what was obviously, a “labor of love” by everyone concerned — that unfortunately (for audiences) only ran from May 2 to 7.
Fields described “Logger Love Stories” like this: “It’s a true theater of place work — theater inspired by the landscape, people and themes of this place now.”
And, many of the stories were based on events that actually took place (at one time or another, over the years) in the Logger Bar. With many more, doubtless, to come!
But, there was also one last, lasting “Logger Love Story” that was celebrated after the show ended on opening night. Cast, crew, and friends raised a glass to toast their one and only “Logger Lear,” the incomparable Donald Forrest, “for his partnership and his life in the theater.” And, as he would surely have said, “On with the show…”
