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- <text id=91TT0971>
- <title>
- May 06, 1991: A Children's Haven Of Healing
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1991
- May 06, 1991 Scientology
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- THEATER, Page 75
- A Children's Haven of Healing
- </hdr><body>
- <p>By WILLIAM A. HENRY III
- </p>
- <qt>
- <l>THE SECRET GARDEN</l>
- <l>Music by Lucy Simon</l>
- <l>Lyrics and Book by Marsha Norman</l>
- </qt>
- <p> When Tyne Daly took an afternoon off from rehearsing Gypsy
- to attend a musical down the street, she accosted its producer
- on the way in to demand, "You haven't ruined it, have you? I've
- loved the novel all my life." That same mix of gleeful
- anticipation and dread is felt by countless other, less
- celebrated patrons entering The Secret Garden, for many of whom
- it, rather than Miss Saigon, has been this season's most eagerly
- awaited Broadway show. Its source, a 1911 novel by Frances
- Hodgson Burnett, appeals equally to sentimentalists infatuated
- with its Edwardian gothic setting and to New Age cultists and
- ecology freaks turned on by its messages of holistic healing and
- oneness with nature. The elegant, entrancing adaptation that
- opened last week will probably add another devoted following,
- those who delight in its sheer artistry. Vibrant and thought
- provoking to look at, melodic and poignant to hear, movingly
- acted and blessed with a dazzling 11-year-old star, this is the
- best American musical of the Broadway season. It is that rarest
- of entertainment, a story fascinating to children that unfolds
- in a manner both sophisticated and stimulating for adults.
- </p>
- <p> Burnett's novel is beloved by girls, although not so much
- read by boys, and it fittingly has been translated by what is
- believed to be a Broadway first, an all-female creative team.
- Producer Heidi Landesman also designed the allegorical,
- imagistic set, based on a child's toy theater. Director Susan
- Schulman has laced the narrative with ghosts and wraiths of
- memory. Composer Lucy Simon blended folk music apt to the
- Yorkshire locale with art songs fitting the moneyed manor-house
- setting. Librettist-lyricist Marsha Norman solved the
- self-containment of the three main characters by making their
- songs vehicles for thoughts they would never merely speak.
- Although the creators stress their sensitivity to the book's
- fans, they were not revisiting childhood pleasures of their own;
- most remembered the book dimly, and Norman had never read it at
- all. They took a free hand with the sprawling, surprise-laden
- plot to highlight its theme of two troubled children healing
- themselves as adult intervention offers no help, just hindrance.
- </p>
- <p> Daisy Eagan plays Mary Lennox, an orphan whose unloving
- parents died in a cholera epidemic in India. John Babcock, 14,
- plays her cousin Colin, a sickly boy kept locked away from chill
- winds and excitement in a room where he frets that he will be
- transmuted into a hunchback like his father. Mandy Patinkin
- plays the father, his deformity barely noticeable but his
- behavior conspicuously odd: he visits his son only when the boy
- is asleep, a quirk that never makes psychological sense. In the
- woods--including the walled enclave of the title, cultivated
- by Colin's late mother and now closed up by his father--live
- country folk who can talk to animals, notably the puckish Dickon
- (John Cameron Mitchell). The first act takes a long, slow time
- setting things up. The second act thrillingly resolves them.
- Like the novel, this adaptation rewards patience with a
- satisfying surge of emotion, a sense that God's in his heaven
- and all's right with the world.
- </p>
-
- </body></article>
- </text>
-
-