When the usher whispered, ‘You have to sit down now, the gorillas are coming,’ I knew Tarzan at The REV Theatre wasn’t going to be your average musical. And it wasn’t. It was a sensory feast that left me questioning what it means to be human—and whether we’ve lost touch with our wilder selves.
The Jungle as a Character
What struck me most wasn’t just the acrobatics (though the gorillas’ ‘ape-eography’ was jaw-dropping) but how the set became a living, breathing entity. Scenic designer Stephen Gifford didn’t just build a jungle—he crafted a world. The layered vines, the strategic shadows, the projections that enhanced rather than replaced the physical set… it felt less like a stage and more like a portal. Personally, I think this is where modern theater often falls short: relying on tech to tell the story instead of elevating it. Here, the projections added depth, like a heartbeat to the jungle’s lungs.
Gorillas That Steal the Show
Let’s talk about those gorillas. The ensemble’s commitment was unreal. No, seriously—I checked the bios. No minors. Just adults embodying primal energy with such precision it was almost unsettling. Their movements weren’t just choreographed; they were lived. Climbing, swinging, vocalizing—it was a masterclass in physical storytelling. What many people don’t realize is how hard it is to sustain that level of intensity without breaking character. By Act II, I wasn’t watching actors; I was watching a family.
Phil Collins’ Musical Tightrope
Now, the music. Phil Collins’ score is a mixed bag, and I’ll say it: some songs felt phoned in. ‘You’ll Be in My Heart’ is iconic, sure, but the new additions? Meh. Jane’s introduction song is essentially a botany lecture set to melody. If you take a step back and think about it, it’s a missed opportunity. Why not lean into the tension between her scientific mind and Tarzan’s instinctual world? Instead, we got a checklist of Latin plant names. That said, Raquel Jennings as Kala soared. Her lullaby-like vocals were the emotional anchor the show needed.
Tarzan’s Duality: The Heart of the Matter
Dean Cestari’s Tarzan was a revelation. His physicality—the cartwheels, the monkey-like posture—wasn’t just cute; it was a metaphor. Here’s a character torn between two worlds, and Cestari embodied that conflict in every movement. What this really suggests is that identity isn’t static; it’s a dance. His chemistry with Emma Dean’s Jane was electric, not because of romance, but because of contrast. She’s all structure, he’s all instinct, and together they ask: Can we ever truly bridge that gap?
The Bigger Picture: Why Tarzan Matters Now
This isn’t just a feel-good musical. It’s a mirror. The jungle’s vibrancy—those magenta and blue hues—felt like a rebuke to our sterile, screen-lit lives. In my opinion, the show’s true genius is how it forces us to confront our own ‘wild sides.’ Are we Kerchak, rigid and fearful of change? Or Kala, embracing the unfamiliar with open arms?
One thing that immediately stands out is how the story’s themes of belonging and otherness feel timely. In an era of polarization, Tarzan’s journey isn’t just personal—it’s political. The researchers, the gorillas, even the panther that killed his parents… they’re all symbols of forces beyond our control. Yet, the show dares to ask: Can we choose our family? Can we redefine what it means to belong?
Final Thoughts
Stepping out of The REV into Auburn, New York, felt jarring. The real world seemed dull by comparison. This production didn’t just entertain; it challenged. It reminded me that theater, at its best, isn’t about escapism—it’s about reflection. Personally, I think Tarzan is a call to embrace our complexities, our contradictions. After all, what’s more human than that?
