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Jackson Goad as Wayne Frake and Kyle Yampiro as Hoop-La Barker in The REV Theatre Company’s production of Rodgers & Hammerstein’s “State Fair.” (Photo: Ron Heerkens, Jr., Goat Factory Media Entertainment, LLC)

“State Fair” Achieves Perfection At The REV

By Barbara Adams

Sometimes all the elements come together to create theatrical perfection –– and that’s what happens, most wonderfully, in e REV’s current production of the classic musical, “State Fair.”

You couldn’t ask for a more traditional, down-home example of the genre. Based on a 1932 novel, the rst lm starred Will Rodgers; the second, in 1945, added music, scored by the gi ed duo of Richard Rodgers and Oscar Hammerstein II. Two more movies followed before the tuneful “State Fair” reached the stage in 1969. e show’s numerous revivals since suggest that this homey tale of a family attending the Iowa State Fair in 1946 is persistently appealing.

And why not? –– it’s full of family and community values (connectedness, respect, mutual support); high-spirited competition (whether for the prize boar or the tastiest mincemeat); and of course, genuine romance (not only for the young but the happily married middle-aged). It’s a sweet, insular world where the greatest evil is being cheated by the fair’s ring-toss hustler.

What makes this all deliciously believable is Brett Smock’s imaginative and smooth direction of a splendid cast. From the principals to the chorus, the singing, dancing, and above all authentic acting simply entrance us. Anne Wechsler’s engaging Margy Frake seeks something more than her farm beau Harry (Tommy Gedrich) can o er; she discovers what in the attentions of J Savage’s Pat Gilbert, a disgruntled reporter assigned to cover the fair. (Don’t overlook his fabulous footwork.)

Margy’s earnest brother Wayne (Jackson Goad) falls for the older showgirl Emily (a dynamic Kim Sava), a thrilling romance that zzes up and out. eir parents –– charmingly played by Martin Sola and Crissy Guerrero –– are salt-of-theearth partners. Dripping with personality, they’re also energetic, mischievous, and frequently canoodling.

On opening night, from the rst notes of the overture (under Alexander Tom’s musical direction), the audience was abuzz, some bouncing in their seats. e setting alone was exciting: a huge State Fair sign, lights strung everywhere, a swirling roller coaster track, even a Ferris wheel. And the Midway, dairy pavilion, and Frake household were tucked in there too. Je rey D. Kmiec’s dazzling set was splendidly lit by Jamie Roderick, whose designs and colors shi ed across a range of emotions. e scene was completed by Ti any Howard’s excellent costumes, rich with textures and muted shades for the rural folk, then swinging to smooth and elegant