The Pasadena Playhouse continues its sterling commitment to celebrating the great American musical with a ravishing new production of Lerner & Loewe’s Brigadoon—and what a glorious celebration it is.
Playing now through June 14 in a fresh adaptation by Alexandra Silber, inspired by Alan Jay Lerner’s original book, this reimagined Brigadoon lovingly honors the classic while deftly bringing it into the present day. Silber updates the story’s two wandering Americans into modern-day Jersey buddies whose accidental journey into the mystical Scottish village feels at once contemporary and timeless. The result is a production that embraces the romance and enchantment audiences cherish while uncovering new emotional immediacy beneath the heather.
Directed and choreographed with exhilarating fluidity by Katie Spelman, the production moves like a dream. Spelman’s staging balances sweeping theatricality with intimate emotional truth, and her choreography—rooted in Agnes DeMille’s iconic original dances while infused with fresh vitality—keeps the stage alive with movement and heartbeat.
But perhaps the evening’s greatest luxury is the sheer sound of it all. Pasadena Playhouse boldly places a full 22-piece orchestra on stage, and the effect is electrifying. Under the lush musical direction of Brad Gardner, Frederick Loewe’s indelible score blossoms magnificently, filling every inch of the historic theatre with warmth, grandeur, and romance. The overture alone earns near-swoons, while beloved melodies like “The Heather on the Hill” and “Come To Me, Bend To Me” wash over the audience like a tide.
And those voices. Max von Essen brings soaring tenor elegance and aching sincerity to Tommy Albright, grounding the fantastical story with emotional honesty. Opposite him, Betsy Morgan’s luminous Fiona MacLaren is pure enchantment. Their breathtaking rendition of “Almost Like Being in Love” is the kind of showstopping musical theatre moment that reminds audiences why these golden-age classics endure. Von Essen and Morgan don’t simply sing the number—they send it soaring into the rafters and beyond.
Daniel Yearwood’s joy as Charlie Dalrymple is every bit as infectious as his rich vocals, bringing buoyant charm and vitality to every moment he’s on stage. Opposite him, Kylie Victoria Edwards is positively ethereal as Jean MacLaren. Their duet is delicate, romantic, and exquisitely excecuted, capturing the innocence and wonder at the heart of the musical.
Spencer Milford delivers a powerful turn as the tortured Harry Beaton, conveying the character’s desperation and heartbreak with stirring intensity. Equally affecting is Jessica Lee Keller as the mute Maggie Anderson, whose quiet devotion to Harry becomes one of the production’s emotional anchors. Her haunting dance of mourning is absolutely heartbreaking, one of the evening’s most emotionally resonant moments.
Special mention must also be made of the incomparable Tyne Daly as Widow Lundie. Daly brings her signature gravitas, humor, and grace to the role, grounding the mystical proceedings with warmth and humanity. Every moment is achingly lived-in and earned.
The entire cast is excellent, creating a village that feels vibrant, rich and wholly magical. Scenic designer Jason Sherwood conjures a misty Highlands dreamscape that transforms fluidly between worlds, while Raquel Adorno’s costumes evoke both romantic nostalgia and grounded realism. Jaymi Smith’s atmospheric lighting bathes the stage in glowing twilight hues, giving the entire production an almost cinematic sweep.
Yet what lingers most after the final curtain is the production’s deep sincerity. This Brigadoon is not cynical or self-conscious. It believes wholeheartedly in romance, music, yearning, and wonder—and invites the audience to believe too.
The whole production is stunning: a sweeping story of love that defies logic and understanding, of a world where time stands still just long enough to remind us what truly matters—connection, hope, beauty, and the courage to follow the heart wherever it may lead.
At a moment when audiences crave connection and escapism in equal measure, Pasadena Playhouse has created an evening that feels transporting in every sense of the word. This Brigadoon doesn’t merely revisit a classic—it reminds us why the American musical remains one of our most emotionally expansive art forms.
For a few magical hours, the outside world fades away, and the impossible suddenly feels within reach.
BRIGADOON runs at Pasadena Playhouse through June 14, 2026. Tickets are available at pasadenaplayhouse.org or at the box office located at 39 S. El Molino Avenue in Pasadena. Contact (626) 356-7529 [email protected]
