KCRep’s Once proves that stripped back and simple can be stunning
KCRep’s 2024 production of the musical Once. // Photo By Don Ipock
The Kansas City Repertory Theatre spends September staging an adaptation of Once. This folksy musical is inspired by a 2007 movie of the same title, and follows an Irish aspiring singer, songwriter “Guy” as he teams up with “Girl” in an attempt to make his big break.
From the beginning, it is clear that the whole cast is immensely talented. A highly-spirited Ashley Pankow led the preshow as the ensemble cast and even leading talent followed in her footsteps. Perfectly synchronized, not one performer missed a beat as they danced while playing their instruments. The entire cast spins on their heels and stomps their feet as they chant their songs together, giving this musical a whimsical flair and sense of comradery not often seen on stage. No shortcuts were taken here, either—this musical relied on no prerecorded soundtracks to back their talents’ singing. Instead, Once boasted the instrumental abilities of its entire ensemble throughout the whole show.
Leading man Ben Ferguson, or Guy, opens the show with an intense solo performance of “Leave.” It is after Ferguson’s singing that Tiffany Topol’s “Girl” is introduced. A Czech immigrant, she offers instant comic relief after Guy’s opening emotional performance.
“I know you can talk, I just heard you sing,” says Topol after Ferguson finishes his opening solo. It is Topol’s quirky portrayal of Girl that is so complimentary of Guy, making her his better, lighter, quintessential half. Topol truly delivers in this production, also showcasing her raw, emotional delivery whenever she takes the mic. Topol’s musical talents radiate thanks to her delicate singing, while her precision and rhythm are evident in her piano playing.
KCRep’s 2024 production of the musical Once. // Photo By Don Ipock
Similarly, Ferguson’s Guy is nothing short of leading-man material. His ability not only in his musical performances but also as an actor is evident. Ferguson captures a tender persona which is prominent throughout the entire show. From the moment he meets Girl’s daughter Ivonka, to his touching goodbye to his father, Ferguson is worth his salt in every aspect of his performance. Ferguson’s baritone voice proves his right to being cast as Guy–as well as his ability to match Topol’s high notes, too.
The chemistry between Ferguson’s Guy and Topol’s Girl is undeniable as their budding romance dominates the stage. Long, lingering looks seem to be a strength for both actors–giving“tension a whole new meaning as they navigate the road to stardom despite the barriers along Guy’s journey to New York.
The specialness of this production can be underscored by its ability to seamlessly transition from a joke to a heartfelt scene. One continuing example can be found in Dan Weschler, or Billy. A going bit in the musical, Billy contends for the affections of Girl. Weschler brings Billy to life through his ability to portray a smitten dork with no real appealing qualities, that a viewer still can’t help but love. Perhaps this appreciation for Billy is born out of like for Weschler’s impeccable comedic timing and zealous expressions. It would be a disservice not to also commemorate Fritz Hutchinson’s Svec and Curtis Gillen’s Andrej for similar reasons; Hutchinson has a contagious energy that is not often performed so extravagantly, but he succeeds nonetheless. Gillen also stands out for his unique characterization thanks to his “I have an interview…” jest.
Seasoned actor Mark Robbins will pull at your heartstrings with his portrayal of Da—Guy’s father. A top-tier scene for certain, Robbins’s ability to encapsulate the sacrifice and selflessness in his simple act of giving his blessing to his son as he embarks on New York is sincere acting at its finest.
It is clear the hard work and grit that went into production. Props are owed to the stage director and choreographer for this musical as well; The utilization of the ensemble cast when portraying something as simple as a voice message is well thought out and executed. Every scene transition was exact and purposeful, with the presence of the ensemble never feeling overbearing when Guy and Girl were centerstage.
The Kansas City Repertory Theatre’s Once proves that a simple plot can be magnificent when paired with exceptionally talented performers.
