‘Hundred Days’ @ Circle Theatre
Photos by TayStan Photography
—Rickey Wax
What would you do if you only had 100 days left to live?
The regional premiere of Hundred Days at Circle Theatre attempts to answer this very question. It is the personal love story of real-life couple Abigail and Shaun Bengson, who created the music and lyrics, and wrote the script along with playwright Sarah Gancher. With a looming catastrophe coming—perhaps a pandemic or existential crisis?—the musical explores their relationship through a blend of folk-rock music (think Mumford and Sons meets Evanescence) and raw, emotional storytelling.
As they confront the uncertainty of the future, Abigail and Shaun grapple with their fears, hopes, and dreams, ultimately finding strength in their love and in each other. The narrative shows the transformative power of shared experiences, offering a heartfelt and intimate portrayal of a couple navigating life's challenges together.
The thrust stage in the basement of Circle Theatre is set up like a rock concert, with instruments at the ready, and a few microphones on the stage. In this cabaret-style show, we’re introduced to The Bengsons and their “family band.”
Abigail (Aubrey Ferguson) wastes no time breaking the fourth wall and turning this into a real-life concert with audience participation. This approach endeared her to the audience, since most of the time we’re told to sit in silence. Abigail serves as the main narrator of the show and throws the audience into disbelief when she says that she and Shaun (Ian Ferguson) got married after only three weeks. What would make someone do such a thing?
Well, it turns out that Abigail has lived a life full of trauma (and circumstances beyond her control) that always seems to end with loved ones dying or “going mad.” Spurred on by a dream, Abigail is certain that the love of her life is set to die in 100 days. So as any normal person would do, she breaks off her engagement with her fiancé—and in turn Shaun abandons his best friend—as they pursue a life together. They see this as an opportunity to make every second of every day count in an attempt to “stretch out time.”
Directing this production must have been a formidable task, but director Evan Michael Woods and musical director Ian Ferguson navigate with finesse. The staging cleverly merges everyday domesticity with surreal, dreamlike sequences beautifully performed by characters of the ensemble (Sebastian Archibald, Emma Gervasi, Silas Robles, Jarrod Wells).
Each song serves as a lyrical snapshot of a pivotal moment in Shaun and Abigail’s relationship. The staging is fluid and the pacing perfect, allowing the story to unfold naturally while keeping the audience’s attention. The decision to infuse the musical with elements reminiscent of a Christian rock concert is a bold and effective choice. This infusion brings an additional layer of energy and spirituality to the show, making it not just a performance but an experience. The lighting (Aaron Johansen) and scenic design (Leah Mazur) is impeccable!: throughout the show the lights change with the tempo of each song and perfectly set the mood; it felt like watching fireworks during the Fourth of July. Most of the set pieces were agile enough to move through without causing any disruption to the story: there is even a moment on stage when it rains.
The lead actors deliver sublime performances. Their chemistry onstage is undeniable—not shocking considering that Aubrey and Ian Ferguson are married in real life. Initially I was skeptical of their characters onstage; after all, they abandoned two important people in their lives. How can we forgive them? But after hearing Aubrey Ferguson’s rendition of the song “Hundred Days” I was immediately drawn back in.
Aubrey shines as Abigail, bringing a mesmerizing blend of power and vulnerability to her portrayal. Her singing voice is nothing short of enchanting, with a quality that evokes the haunting allure of a siren. Like the late singer Dolores O'Riordan of The Cranberries, Ferguson infuses her performance with a raw, rock-inspired edge that captivates the audience from the moment she takes the stage.
In contrast, Ian's portrayal of Shaun brings a soothing, more mellow tone into the musical landscape of Hundred Days. His tenor voice is that of a crooner, and offers a calming counterpoint to Aubrey's more dynamic presence. Ian's vocal performance is characterized by its evenness and warmth, providing a steady anchor amidst the emotional highs and lows of the narrative. His chemistry with Audrey Ferguson on stage enhances the authenticity of the Shaun/Abigail relationship: this couple harmonizes not only in music but also in life's struggles and joys. Together, Aubrey and Ian create a harmonious duet that forms the heart and soul of Hundred Days.
Cherish Love Robinson is on the keyboard, but also showcases her powerful vocal ability when she sings “Marching in the Wrong Parade.” Emma Gervasi performs many lyrical dances throughout the production and manages to keep the energy of the show from ever falling flat. (The show’s musicians—most doubling as ensemble members and/or understudies—are Sebastian Archibald on guitar, Emma Gervasi on violin, Silas Robles on bass, Jarrod Wells on drums, and Jordan Jones on cello.)
Hundred Days has a run time of ninety-five minutes with no intermission. In all honesty, I asked myself: Does this production need to be a musical? Despite its strengths, Hundred Days leaves a lingering sense of unfulfilled potential, with a narrative that doesn't quite reach the emotional heights promised by its stellar performances from the actors. At times it feels a bit “cheesy”—rather like the kind of Hallmark movie we need from time to time as a pick-me-up. But Hundred Days reminds us to make every second count with our loved ones. It’s truly entertaining, and any slight hesitations did not stop me from downloading the full album and adding each and every song to my Spotify playlist.
WHEN: June 6 – July 6, 2024
WHERE: 230 W 4th St, Fort Worth, TX 76102
WEB: circletheatre.com
