Frindle

As I watched Frindle, all I could think about was my High School debate coach Mrs. Reynolds. She had high expectations for me and all of her students, but those expectations were matched by undying love and care for our successes. This passion paired with educational standards helped all of us excel, and for me, made me the person that I am today. And therein lays the success of this play. We all have a teacher that we admire to this degree and if we don’t, it’s maybe because we haven’t seen the benefits reaped in our lives…yet. Based on Andrew Clements’ award winning book the playwright, adapted by William Massoli, has created a play that evokes nostalgic empathy and tickles funny bones in children and adults alike. Albeit quite charming, the already short running time of ninety minutes may be a little too long for its targeted audience. During the last twenty minutes, the children who sit on the floor immediately at the foot of the stage began to squirm, talk to their neighbors, and stare at various points around the room besides the stage.

Some highlights of the show include Mrs. Granger (Peggy Friesan), Nicholos (inventor of the word “frindle” played delightfully by Cooper J. Scott) alongside his posse of young peers (Melanie Humphrey, Nick Grant and Aaron Elias Branch), and the well designed set (James Holborow) and costumes (Kelly Kasper). Friesan shines as the essence of a good, solid educator with a massive heart for her students. Her ease and relaxed demeanor onstage allows her character to be transmitted both truthfully and effectively; she serves the story impeccably. Scott shows much promise as a budding actor, bringing energy, charisma, and a natural skill with him to the precocious Nicholas. The trio of adolescents in the play continually makes the story both funny and endearing. Particularly Nick Grant; he reminds me of a blooming Disney channel star, but with added talent to mere commercial appeal. Holborow’s set allows for easy shifts from scene to scene while creating atmosphere from giant letters, letters that can be adapted to tables, chairs, couches, desks, etc. I found Kaspar’s costume design to be modern and appropriate, but more importantly stylish and comfortable. I particularly loved the “mom” look. For such a rewarding tale that reminds us of childhood and old teachers, the fresh look of the cast helps the audience follow that journey. 

In general, and with the exception of Freisan and a few other scenes and character-bits, the adult ensemble seemed a bit lethargic in comparison to their younger counterparts, but that did very little in harming the over-all effectiveness in the play. I did find the actors playing Nicholas' parents ill-suited choices; the two actors (Molly Denninghoff and Alex Epsy) have previously impressed me with their work, but this time I felt they were mismatched as a pair and also not appropriate choices for these roles. Denninghoff is far too young to pass as a mother to a junior-high-aged boy. However, I did appreciate both actors' bits in other scenes, Denninghoff as a quirky secretary and Epsy in a newscast/camera role, both were quite funny in those scenes.

Director Ernie Nolan creates an impressive ninety minutes of nostalgic, captivating theatre. It's certainly worth seeing. Frindle is lovely; touching the hearts of both teacher and student alike.