Theater Review: 'Private Jones' at Goodspeed's Terris Theater

Review by Nancy Sasso Janis

“Private Jones” is a most innovative new musical that was inspired by the (probably) true story of a deaf Welsh soldier in World War I who displayed unbelievable skill as a sniper, all while trying mightily to hide his profound hearing loss. The performance is driven by an ensemble of hearing, Deaf, and hard-of-hearing actors, as well as an extensive Celtic score.

“Private Jones” features book, music and lyrics by Marshall Pailet (Off-Broadway: “Who’s Your Baghdaddy.”) Pailet also directed this production, with the help of Director of Artistic Sign Language Alexandria Wailes (Broadway’s “Children of a Lesser God.”) The two described in the printed program that they worked hard to address the issue of the music that makes up 90% of the show by “consciously making the show look like it sounds” and “carefully calibrated use of the sound foley.”

Pailet and Wailes explained that in order to illustrate the emotional life of Private Jones they used “live, onstage, actor driven sound foley” effects. They also chose to have the members of the company do everything on stage. “Everyone plays Welsh soldiers, everyone plays nurses, everyone plays deaf factory workers. In our world, everyone is everything,” they write.

The two acts are performed in spoken English, as well as some American Sign Language and British Sign Language. ASL Interpretation and Open Captions were offered at select performances.

The title character Private Gomer Jones was brought to life by Equity actor Johnny Link (Off-Broadway “Baby.”) Jones has recently lost his “listening,” so he speaks and reads lips to navigate a hearing world. Link mastered all of the demands of his character as written.

Jack King was played by Claire Neumann (Off-Broadway: “Who’s Your Baghdaddy?”) The Equity actress nailed the role of a brash soldier, written as male.

The roles of nurse trainer Gwenolyn and Evans, a soldier, were played by Equity’s Leanne Antonio and she managed to shine as both characters.

Equity member Vincent Kenpski played the complicated role of Edmund. David Aron Damane, another Equity member, stepped out of the ensemble to play a father, the drill sergeant and a major and displayed a wonderfully full bass singing voice. Equity member Brandon Espinoza portrayed Redvers, a soldier who heads to war before Jones. Dickie Hearts, a deaf Equity actor, stepped up to play Henry.

Amelia Hensley, who is well-known for role as Thea in Deaf West’s “Spring Awakening” on Broadway, is a deaf artist who interpreted at crucial moments in the performance. The ensemble also included Alex De Bard, George Psomas, Jon-Michael Reese, who played the soldier Bailey, and Emily Steinhardt.

The script contains a whole lot of foul language and the musical numbers run the gamut of styles. There was some striking choreography by Misha Shields (Off-Broadway: Baghdaddy). Music direction of the orchestrations written by Ryan O’Connell was by Myrna Conn, who conducted three other musicians from behind keyboard 1. Jennifer Scapetis-Tycer worked with the dialects.

Scenic design by Christopher and Justin Swader successfully changed from Brecon, Wales to a training camp to the start Western Front. Costume design by Phương Nguyễn was authentically military for this era.

Lighting design by Jen Schriever was absolutely stunning, the best lighting effects that I have seen in a very long time. Facilitated by the strongly delivered performances by the entire company, this was a visual feast for the eyes.

Puppets by Emmy-nominated puppet and theatrical designer Nicholas Mahon (“Little Shop of Horrors” Off-Broadway, Sesame Street Television) added a special touch to the performance.

Because The Terris is a developmental theater, the show “changed on a day-to-day basis. Scenes were removed, plot lines were clarified, staging was changed, dialogue was tweaked, songs were revised - all based on audience response and feedback.”

I was mesmerized by every minute of this intentionally heavy performance and hope that this new work will live on. “Private Jones” closed on Nov. 5. at The Terris Theatre in Chester. The official press opening was held on Nov. 1, which is why reviews have only recently been published.

Nancy Sasso Janis has been writing theater reviews since 2012 as a way to support local venues, and she posts well over 100 reviews each year. She became a member of the Connecticut Critics Circle in 2016. Her contributions of theatrical reviews, previews, and audition notices are posted in the Naugatuck Patch as well as the Patch sites closest to the venue. She is also a feature writer and theater reviewer for the Waterbury Republican-American newspaper. Her weekly column IN THE WINGS and theater reviews appear in the Thursday Weekend section of the paper.

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