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‘Pinocchio’

Theatre Three’s Children’s Theatre closes its summer season with Pinocchio, a musical for the entire family.

Based on Carolo Collodi’s late nineteenth century Italian novel, The Adventures of Pinocchio, the story has been seen on stage and screen, both in animated and live action versions. As with all Theatre Three children’s theatre, the company creates its own musical based on the original material. Pinocchio has a book by Jeffrey Sanzel, with new songs by Jeffrey Hoffman and Douglas J. Quattrock.

Anabelle (Emilia Guzzetta), underling apprentice fairy—third class, is assigned by Ondine, Queen of the Fairies (Ginger Dalton), to help an angry and withdrawn woodcarver, Geppetto (Steven Uihlein). 

After failing to change the recluse through song, the nervous fairy teams with the energetic and outgoing Cassandra, the Enchanted Cricket (Michelle LaBozzetta). Together, they enchant a stick of wood. Hearing the wood speak, Geppetto fashions it into a wooden companion, Pinocchio (Kiernan Urso). When they realize that the puppet is alive but lacks a sense of right and wrong, they cast a spell on his nose to grow when he does not tell the truth.

Meanwhile, two wily crooks—Carpacious Cat (Gina Lardi) and Ferdinand Fox (Ryan Van Nostrand)—set up their scam “Festival El Grande” to fleece the villagers. When they discover the magic wooden boy, the pair embark on yet another scheme. 

Along with the professional acting company, Pinocchio features two dozen students from Theatre Three’s Summer Dramatic Academy.

The score features the original songs “Lovely Thoughts,” “Bad Harmony,” “You Can Count on Me,” “Taran-Tella Da Truth,” “Put Tomorrow in Your Hands,” “Keep Your Chin Up and Smile,” and the calypso “Festival El Grande.”

The production is directed by Sanzel while  Quattrock and Hoffman, who musically directed, form the two-keyboard combo. Choreography is by Kiernan Urso, costume design is by Jason Allyn and Melissa Troxler is the production stage manager.

Theatre Three, 412 Main St., Port Jefferson presents Pinocchio through Aug. 10. Running time is one hour with a 15 minute intermission. Photos with the cast are available in the lobby after the show. Final performances are Friday, August 9, at 11 a.m., and Saturday, August 10, at 11 a.m. and 2 p.m. 

Children’s theater continues with Theatre Three’s annual productions of A Kooky Spooky Halloween from Oct. 5 to 19, and and Barnaby Saves Christmas from Nov. 23 to Dec. 28. 

All seats are $12. Call the box office at 631-928-9100 or visit theatrethree.com for tickets and information. 

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Tom Hanks, right, stars in 'Pinocchio,' which uses both live action elements and animation. Pinocchio, left, is voiced by Benjamin Evan Ainsworth. Photo courtesy of Disney +

Reviewed by Jeffrey Sanzel

Disney continues to revisit its animated classics as source material for live-action films. These include 101 Dalmatians (along with a sequel and a prequel), Alice in Wonderland, Sleeping Beauty (Maleficent, with its shifted point-of-view), Cinderella, Beauty and the Beast, Dumbo, Aladdin, The Lion King, Lady and the Tramp, and Mulan. Most have received mixed reactions, but this has not stemmed the flow. Added to this list is the newly released Pinocchio, now streaming on Disney+.

Cynthia Erivo is the Blue Fairy in ‘Pinocchio’

Pinocchio finds its origins in the children’s novel The Adventures of Pinocchio. Italian writer Carlo Collodi wrote of a Tuscan woodcarver named Geppetto who creates a wooden puppet who dreams of becoming a real boy. The name “Pinocchio” is a combination of the Italian words pino (pine) and occhio (eye). The character’s iconography and adventures bridge three centuries: The puppet dreams of being, given spirit guides, and a nose that grows when he lies (occurring only once in the novel). 

Disney’s Pinocchio (1940) deservedly earns the accolade “masterpiece.” Pinocchio, the follow-up to the studio’s Snow White and the Seven Dwarfs (1937), is only equaled by its predecessor. Three years in the making, Pinocchio was a critical hit. Writing in The Hollywood Reporter, the unnamed staff writer described the film in glowing terms: “… the picture is a masterpiece which sets another milestone along the road of screen entertainment …. a new source of joy for which [the creators] deserve and will receive the gratitude of millions who will see it.”

A scene from Disney’s ‘Pinocchio.’

Pinocchio has been seen on both the big and small screens nearly two dozen times. Casts have included the Pinocchio’s of Sandy Duncan, Paul Reubens (a.k.a. Pee-Wee Herman), Jonathan Taylor Thomas, and Roberto Benigni. Geppettos include Burl Ives, Danny Kaye, Martin Landau, Carl Reiner, and Drew Carey. In addition, a host of famous actors appeared in supporting roles.

For the newest incarnation, director Robert Zemeckis has co-adapted the screenplay with Chris Weitz, but the entire film feels like a scene-for-scene remake of the original. Where it attempts to find something new, the substitution does nothing to enhance the storytelling. Instead, it is different for its own sake. 

A few new elements are introduced into the plot but add little to the overall effect, with even the best moments falling short. “Clever” touches receive acknowledgment—cuckoo-clocks with Disney images (Snow White, Roger Rabbit, Sleeping Beauty, etc.)—but seem slightly out-of-place. The mix of live actors and CGI results in the “real” people appearing as if traveling through a virtual reality app. 

Tom Hanks is Gepetto îs Disney’s ‘Pinocchio’

The story remains the same. Inventor Geppetto fashions Pinocchio and wishes upon a star. The puppet then finds himself duped into various dangerous scenarios: encountering the fox and the cat who sell him to Stromboli, the wicked puppeteer; the journey to Pleasure Island where the children are turned into donkeys and sold; being swallowed by a sea monster; etc. Pinocchio’s spiritual guides are, of course, Jiminy Cricket and the Blue Fairy. 

Tom Hanks makes a heartfelt Geppetto, a widower in mourning for his wife and son. He infuses the character with a deep kindness interwoven with a fragile and broken soul. He puts a smile on the puppet so he will “always be happy.” The image of his setting out to find Pinocchio, packing his beloved cat, Figaro, and cradling his adored fish, Cleo, is touching. One could wish Hanks’ make-up to be a little less extreme, with bushy hair, mustache, and eyebrows worthy of their own zip code. 

Cynthia Erivo makes a beautiful, fully present Blue Fairy. The voice work is good, with Benjamin Evan Ainsworth’s sweet and never saccharine Pinocchio. Joseph Gordon-Levitt gives Jiminy Cricket a southern flavor but conveys his concern as the puppet’s conscience. Lorraine Bracco (a friendly seagull) and Keegan-Michael Key, as Honest John, the con-fox, are fine if a bit one note.

The story’s heart remains to be “real” is to be brave, honest, and unselfish. While spelled out clearly, the concept sometimes gets lost in the visual noise. The pacing is uneven and often slow. The comic violence (Stromboli locking Pinocchio in a case) feels jarringly vicious. Jokes referencing Chris Pine, agents, taxes, and educational curriculum do not land so much as thud. The original music is oddly utilized and snuck in, almost as spoken verse and Alan Silvestri’s new songs unfortunately fail to enhance the film. In the end, Pinocchio feels like light-beer-and-water: all the same but less.

Upcoming and in development are live-action versions of The Little Mermaid, Peter Pan (as Peter Pan and Wendy), Snow White, Hercules, The Hunchback of Notre Dame, The Sword in the Stone, Robin Hood, Bambi, The Aristocats, and Lilo and Stitch along with sequels to The Lion King (Mufasa: The Lion King), Aladdin, The Jungle Book, and Cruella. With the track record of previous adaptations, one must wonder—other than money—what Disney hopes to gain. 

Rated PG, Pinocchio is now streaming on Disney +.

By Heidi Sutton

For too short a time, the classic tale of “Pinocchio” comes to life on Theatre Three’s stage in a most magical way. While most are familiar with Walt Disney’s 1940 animated feature, Theatre Three’s original retelling, written by Jeffrey Sanzel and Douglas J. Quattrock, is suggested from the 1883 children’s novel, “The Adventures of Pinocchio,” by Carlo Collodi.

Annabelle the Fairy (Krystal Lawless) has spent two centuries trying to earn her magic wand so that she can fly. Summoned before Ondine, the good and righteous Queen of the Fairies (Ginger Dalton), she is given one last chance to prove her worth or she has to leave the land of the fairies forever. 

Matt Hoffman and Steven Uihlein in a scene from ‘Pinocchio’

Teaming up with Cassandra the Magic Cricket (Michelle LaBozzetta), she is tasked with getting Geppetto (Steven Uihlein), a miserable and lonely woodcarver (think Scrooge), to care about people the same way he cares about wood.

Annabelle decides to cast a spell on the wood, making it talk, and Geppetto is inspired to carve it into a wooden boy he names Pinocchio (Matt Hoffman). Things go sour quickly as Pinocchio constantly misbehaves; so Annabelle casts another spell on him where his nose grows every time he tells a lie.

However, when Pinocchio gets mixed up with con artists Ferdinand Fox (Emily Gates), Carpacious Cat (Nicole Bianco) and Ranklin Rat (C.J. Russo) and is tricked into giving them all of Geppetto’s money, things go from bad to worse. Will Annabelle ever get her wings? Will Ferdinand, Carpacious and Ranklin get their comeuppance? Will Pinocchio ever become a real boy? 

Jeff Sanzel skillfully directs a cast of eight adult actors who take this delightful tale and run with it. There’s a lot to cover in an hour and a half, but the story flows nicely and keeps the audience at the edge of their seats.

The three troublemakers!

The musical numbers, accompanied on piano by Doug Quattrock, are lighthearted and entertaining, from “Lovely Thoughts” by Annabelle to “Bad Harmony” by the trio of con artists, to the wonderful “The Festival El Grande.” Choreography by Nicole Bianco fits the story perfectly and the costumes by Teresa Matteson and Toni St. John are sweet and fun.

There are so many special moments in this show, made even grander thanks to the addition of 40 children from the theater’s summer acting camp who play various extras including fairies and townspeople. 

Much to the delight of the young audience, the actors utilize the aisles often and special effects are around every corner. Annabelle and Cassandra hide under a magic umbrella that deems them invisible, Pinocchio’s nose really grows and wait until you see what falls from the ceiling at the end! Theatre Three has taken a story that is over 130 years old and given it new life. Grab the kids and catch a performance of “Pinocchio.” They will love you for it.

Souvenir fairy wands are sold for $10. Meet the cast in the lobby after the show.

Theatre Three, located at 412 Main St. in Port Jefferson, presents “Pinocchio” through Aug. 10. Children’s Theatre continues with “A Kooky Spooky Halloween” from Oct. 5 to 26 and “Barnaby Saves Christmas” from Nov. 23 to Dec. 28. All seats are $10. For more information or to order, call 631-928-9100 or visit www.theatrethree.com.