ABET’s 'The Fantasticks' Finds Moments of Charm in a Quirky, Enduring Musical

ABET - All Beaches Experimental Theatre’s The Fantasticks takes on one of musical theater’s most curious relics — a minimalist fable of young love and life lessons that has charmed audiences for decades. Whether its particular blend of whimsy and earnestness holds up for modern viewers is debatable, but ABET’s production finds genuine moments of charm amid the show’s quirks.

At heart, The Fantasticks is a parable: two young lovers, Matt and Louisa, manipulated by their feuding fathers, must navigate the highs and lows of romance and reality. The enigmatic El Gallo serves as both narrator and puppet master, guiding them — and the audience — through a story that reveals how disillusionment often deepens love’s understanding.

From the opening notes of “Try to Remember,” Franklin Ritch immediately commands attention as El Gallo. His rich vocals and charismatic stage presence create a much-needed anchor for the production — a performer who fully understands both the romanticism and sly humor embedded in the text. Ritch navigates the role’s many shifts with ease, moving from knowing narrator to seductive conspirator to philosophical observer without ever losing the audience’s trust. His performance brings emotional depth and a sense of continuity to a show that often flirts with tonal whiplash.

As the story unfolds, Louisa and Matt’s rebellious love takes center stage. Julia Clark shines as Louisa, shifting effortlessly from vaping punk rebel to Disney princess lost in daydreams to exasperated teen. Her dynamic range keeps the character fresh and grounded, with a sly, knowing sense of humor that prevents the role from becoming saccharine. Clark’s vocal performance is a highlight — her pleasant, beautiful soprano brings warmth and lyrical grace to the more tender moments in the score. Matt, played by Nicolas DeAssis, brings a sincere portrayal of youthful idealism, though at times his performance feels tentative, as if he is carefully working through each word and movement in real time. This sense of hesitation becomes more noticeable toward the end of the show, particularly in the vocal passages, where stronger pitch confidence would help anchor the character’s emotional journey.

The fathers’ antics provide some of the show’s most entertaining moments. Jad Jordan and Zachary Jones lean in on the comical nature of their fake feud, playing Hucklebee and Bellamy with broad charm and well-timed physical humor. Their chemistry is especially winning in “Never Say No,” where their playful one-upmanship brings much-needed buoyancy to the first act. The pair clearly enjoys the silliness of their scheming, giving the audience a lighthearted reprieve amid the show’s more earnest moments.

Throughout the production, Joe Capps as The Mute is ever present — sometimes center stage, sometimes hovering at the edge — and the sheer fact of his being there somehow never stops being funny. His understated presence and well-timed interjections give the show a quiet, self-aware charm.

The story’s first major twist reveals that the fathers have been cleverly staging the entire romance — including their supposed feud. To pull off the scheme, they hire El Gallo, who in turn recruits the bumbling Henry and Morticia (a gender-swapped version of Mortimer) to fake an abduction. The plan is simple: Matt will “save” Louisa, the feud will be resolved and marriage will follow. Leonard Alterman and Trinity Smith dive into this bit of theatrical nonsense headfirst, providing some of the production’s biggest laughs.

The production tips its hand at the close of Act 1 by unfurling a giant “Happy Ending” banner across the scene — a knowing wink to the audience that all is not quite as resolved as it seems. Act 2 wastes no time pulling the rug out from under the story’s fairy tale charm, as the consequences of the fathers’ scheme — and the limits of youthful fantasy — begin to unfold. The tone grows noticeably more cynical, and while the pacing softens, the production retains just enough energy to carry the audience through. What follows is not a tidy happily-ever-after, but a more complicated journey through disillusionment and the painful lessons of growing up. The cast handles this shift with commitment, and several smart directorial choices — including a striking silhouette sequence that mirrors Louisa’s increasing sense of distance and disillusionment — help maintain interest even as the narrative darkens.

Working in the Adele Grage Cultural Center presents its own unique set of challenges, and this production doesn’t entirely escape them. While the sound mix is crisp and balanced, the lighting design, though creatively conceived, sometimes struggles in execution. A few scenes are left awkwardly lit, thanks to a combination of missed marks and the realities of performing in a space that was not originally designed for theater.

ABET’s The Fantasticks offers moments of genuine charm and strong individual performances, even as it wrestles with the limitations of an aging musical. For longtime fans or the theatrically curious, this production provides an imperfect yet thoughtful exploration of an enduring oddity.

The Fantasticks runs Thursday, June 5 through Sunday, June 22 at the Adele Grage Cultural Center.

For more information, full cast and crew credits and links to tickets, visit the The Fantasticks page here on JaxPlays.