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The casting coup of this production of Little House on the Prairie is television’s original Laura Ingalls, Melissa Gilbert, as Caroline Ingalls, matriarch of the Ingalls clan.  This musical takes as its source Laura Ingalls Wilder’s original series of books, chronicling the Ingalls family’s migrations across the Mid West from Wisconsin to Kansas, finally setting in DeSmet, Dakota Territory, where she met and married Almanzo Wilder. Within the limitations of the theatrical experience, Rachel Sheinkin’s book, Donna di Novelli’s lyrics, and Rachel Portman’s music take Wilder’s books as their inspiration and source, rather than just recreating the television program, which is a blessing. The strength of Wilder’s books lies in the transmission of her love for the prairie, the loving but occasionally fractious relationship with her family, and the honest examination of her own rebellious nature.  In fact, those familiar with the books will recognize many episodes and even dialogue faithfully recreated from Wilder’s texts.

Portman’s score is expansive, evoking the wide-open spaces so loved by Laura Ingalls and her father, the peripatetic Charles Ingalls.  From the opening chords of the overture, Portman’s music provides the background needed to support the musical’s themes of freedom and self-reliance. The vastness of the prairie, its beauty and its potential for menace serve as the canvas for this musical painting. Adrianne Lobel’s simple and elegant set design uses four moveable walls that come together to build the little house, the school, and the buildings of DeSmet, all in contrast with the set’s backdrop, where lights evoke the vast and shifting Dakota sky.

This is a solid cast, who has seen this show through a lengthy tour.  As Laura Ingalls, Kara Lindsay is the anchor with her exuberant performance particularly strong in scenes with Kevin Massey as Almanzo Wilder. She gives a heartfelt rendering of “I’ll Be Your Eyes,” with Jessica Hershberg as the blinded Mary Ingalls.

Steve Blanchard as Charles Ingalls sings with stunning sensitivity and beauty in “The Prairie Moves,” a ballad that reveals Ingalls’ passionate love of the land and his intense belief in its potential to change his and his family’s lives for the better.

As Laura’s bête noir, Nellie Oleson, Kate Loprest romps gleefully through her scenes, making the most of Nellie’s self-centered character, coming dangerously close to caricature at times but providing many of the evening’s laughs.

As Caroline Ingalls, Gilbert delivers a strong and intensely honest performance. Gilbert is not a singer, and her singing of “Wild Child” near the end of the musical is notable less for her clarity of pitch than for her emotional commitment.  She has keyed in on the complex relationship between Laura and her mother, a relationship often fraught with tension as Laura refuses to be the “good daughter” but is more like her mother than either realize or care to admit.

Although they are partially at the mercy of Charles Ingalls’ wandering feet, the Ingalls women are the center and the strength of the family. This production, created, composed, directed and designed by women offers a powerful rendition of that strength.  Little House on the Prairie: The Musical is solid family fare that celebrates the strengths of Wilder’s books as well as reminding us how the life of homesteaders and their settlement of the prairie established fundamental concepts of American character.

 REVIEW:
Starlight Theatre
Little House on the Prairie:  The Musical
Runs June 22-27

Starlight 2010 Broadway Series
Dreamgirls
July 20-25
Beauty and the Beast
August 10-15
The Producers
August 23-29
Rain
September 7-12
For tickets call 816-363-7827 or online at www.kcstarlight.com

Top photo: Kara Lindsay as Laura Ingalls, Steve Blanchard as Charles “Pa” Ingalls, Melissa Gilbert as Caroline “Ma” Ingalls, Alessa Neeck as Mary Ingalls, and Carly Rose Sonenclar as Carrie Ingalls. Photo by Carol Rosegg, 2009

By Sarah Young

Classical and Musical Theatre Contributor

Sarah Young is a freelance writer and performer in opera, theatre, choral and musical theatre. She has been seen locally with Wichita Grand Opera, Kansas City Symphony Chorus, Kansas City Civic Opera, Lawrence Community Theatre, Chestnut Fine Arts Center and in other local venues.  She studied voice at the University of Kansas, and has been trained in artist programs at Indiana University, Aspen Opera Theatre and the American Institute of Musical Studies in Graz, Austria.

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