By Stub Estey
When it was still a work in progress, I saw an onstage reading of Tales of the Artisan in February of last year and predicted that glowing reviews would be written about this show at some point in the future. When I saw the finished product during its opening weekend last week, I knew my prediction was coming true.
This is a new musical written and composed by a father/daughter team: Matt Moore of Prince William County and Cate Murray of Fauquier County. Its world premiere production at Fauquier Community Theatre is directed by Moore and music directed by Murray, so the local performance couldn’t get closer to the source than that. Mary Beth Balint is the producer. Tales of the Artisan continues Fridays and weekends through May 17.
This is an uplifting, engrossing, sometimes quirky, and sometimes touching story of a small Scots/Irish family with a powerful secret who flee political persecution in America in 1814. Describing it as “Part action thriller and part homage to the connections of family,” playwright Moore says in the Playbill, “… arriving somewhere new, with nothing but your clothes, and nobody to rely on but those you hold closest, is a story that resonates with every American family.”
Moore’s script tells the story in an enchanting way, and the music and lyrics put together by Murray are charming and emotionally evocative in moving the story along, complementing the dialogue as an equal storytelling partner. While many of the songs are original, some melodies will sound vaguely familiar because, as acknowledged in the Playbill, a few are based on traditional Gaelic and English music that is in the public domain, with new arrangements. It all works.
The music is sweetly nostalgic (mostly recorded, with some live onstage strumming by Paul Thornton and drumming by David Morgan), with feel-good touches throughout. It’s difficult to single out individual vocal performances because good ones abound among the cast, who must have worked hard to refine the 18 solos, duets, trios, and company numbers.
Michael Pryor turns on Gaelic charm and takes charge vocally with “The Glimmer/The Arrival.” Kassidy Miner does a fine job throughout, starting with “So much more to see,” a lovely and complex original song at the beginning of the show that portends more to come. Jennifer Ayers’ clear soprano tones are a delight to hear on every number she sings; the duet with Miner reprising the notion of “So much more we’ll see” was especially enjoyable, as was the Act Two “Just as You Are” duet with Pryor.
Hunter Elliott’s clear baritone voice rang distinctly through the house on all his numbers, and his harmonies on duets and group numbers were excellent. David Morgan added fun when he sang about getting a spoonful of stew from his wife, played by Darsey Heisey, but comically kept coming up empty in their humorous rendition of “The Stew of Una McDougal.”
It was a fine touch that the actors delivered lines with what seemed to be mostly authentic Irish and Scottish accents. The brogue these local artists probably practiced extensively is strong enough throughout the show that audiences will have to be listening carefully to take it all in (there is a cheat sheet in the Playbill with English translations of some of the idiosyncratic Scottish and Gaelic expressions; patrons should arrive early to look it over, paying particular attention to the family tree chart showing who’s who).
The soldiers outfitted by costumer Heidi Santschi seemed realistically British. In addition to dressing the redcoats, Santschi’s costumes for the townsfolk were a rich and colorful addition to the story. Doug Barylski as Declan spent most of the evening silently standing in a glass box, his blue makeup and elegant yellow outfit and his mugging brought his character to life. Swordplay choreography designed and executed by W. Gregory Smith and Avery Helsey was well done. And kind of scary. Smith was “The Villain you love to hate” from the start and received credit for that by a chorus of good-natured “boos” during the curtain call.
The Company followed Christie Dubnansky’s choreography blueprint, which smoothly blended movement with music, and made large and small group numbers captivating. Featured dancer Alyssa Luehring is billed in the program as having several years of Irish dance experience, and it showed — she was literally on her toes.
Peter Marsh’s set provided a great backdrop for the story and worked well with Stacy King’s effective lighting, including screen projections of scenery and moving effects; it all caught the eye without being distracting. Strong lights on the soldiers; soft on the birds — you get the picture. Speaking of birds, here’s something you don’t often hear: Ben Jacobeen’s sound effects included a murder of crows. With the puppetry of Linda Correll, it was believable enough. Scene transitions were quick and unobtrusive, mostly handled by the cast. A close-up card trick by a mystical artisan was cleverly projected from above so patrons could see exactly what was happening.
People talk about a show being “magical,” but this one has actual magic in it. Well done. Local non-professionals marrying music and dance with some magic tricks that, even though the audience might see some of them coming, are well executed. This is community theater. Close to home. Magical. Delightful. Fun. Come see it; you’ll be standing up at the end.
Last year after the staged reading I saw, I really felt this musical was going to become well known in the future and told myself I couldn’t wait to read — or maybe even write – the review when it opens for real. That just happened.
Vint Hill Theatre on the Green has assigned seating — I recommend you purchase tickets in advance before they sell out.
Running Time: Two hours and 45 minutes plus a 15-minute intermission.
Tales of the Artisan plays through May 17, 2026 (Fridays and Saturdays at 7:30 pm and Sundays at 2:00 pm), presented by Fauquier Community Theatre, performing at the Vint Hill Theater on the Green, 4225 Aiken Dr, Warrenton, VA. All tickets ($18–$24) are for reserved seating. Purchase tickets online or call the box office at 540-349–8760.
Printed playbills are available at the performances and also online at Playbills.
See Facebook for additional photos plus video clips.
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Stub Estey is a retired business executive, published author, local musician, and film/theater actor in northern Virginia, who occasionally writes reviews for DC Theater Arts. The principal character in his book, Oxcart Gold Rush, had roots in New England like the Speadean family, and traveled to California only 35 years later than the 1814 setting of Tales of the Artisan.
