“…SIN…SINNERS…AND SECOND CHANCES…” -Troubador
Let me start with a question, if you shall indulge me for a moment. What happens when one of the greatest storytelling musicians of modern times, and the master of horror/ suspense and the downright weird, decides to form a partnership?
What happens when you take a story, stretch the lore, change the pace, add in some elements of mystery, love, deception, intrigue, and perhaps murder?
What then happens when you set the story to a gritty, no-holds-barred, blues/folk score that shakes you to the very being of your core?
You, my friends, have laid at your very feet the inception of a modern masterpiece.
Ghost Brothers of Darkland County, is a musical written by Stephen King, John Mellencamp, and T Bone Burnett. The show premiered 13 years ago, but its story, the mark it will leave on your memory, will haunt you for much longer than you could possibly fathom.
The musical, upon its first inception, debuted at the Alliance Theatre in Atlanta, Georgia in 2012. Soon, following in 2013, a touring production made its way across the South and the Midwest.
Southern Gothic in its nature, the story tells the tale about two brothers, through hating one another are forced to spend time in a haunted cabin. The ones doing the haunting, come to find out are yet another set of brothers, both dead who presumably hate each other.
Sounds like the perfect Halloween-haunt treat delivered up by your Friendly Neighborhood Theatre Company, right? One would think so; however, in this instance, the assumption is wrong, and in the absolute best way possible.
Jobsite Theater is some if not the best “company to keep,” especially this time of year. Jobsite continually produces work that excels at pushing the envelope, and are known for just that. David Jenkins and company have soldified this into the timeline of the Tampa Bay Theatre scene, so much, that another company may try, but could never possibly come close to the sheer magnitude of what Jobsite achieves. Known for the avant-garde, this envelope pushing company does many things well, and two of their top tier categories, lie in Shakespeare and anything remotely themed around a Halloween-type haunt.
Due to much success in the “All Hallows” arena, the licensing company behind Ghost Brothers of Darkland County, reached out to David and wanted to see if he’d be willing to take the reins on a new adaptation of the Southern-Gothic piece, and maybe, just maybe add a little “Jobsite Flair,” to the story. As of opening night the 17th of October, it is my assumption, that Ghostbrothers might just become top ranking or very well tie the placeholder, for their most sold production, its that fascinating.
So much so, that even three days later, I find myself with visions from the show seared into my very cortex, and still getting goosebumps from the vocals within the performances. They always say, “If you build it they will come…” What was built here is unlike anything you have seen, and frankly unlike anything I have ever seen Jobsite produce before.
In its reworkings, David Jenkins and company trim the cast to a tight 8 performers, much unlike the large cast seen in the original premiere some 13 years ago. Instead of a full orchestra, an almost grunge-like blues band sat in the helm, and carried us along the journey. The story is much different from its original inception as well. You see, the first story centered around the father of the boys, whereas in Jobsite’s staging the father is no longer the centralized character. The girls, and the men (boys) whom are feuding over them, are now the centralized arc of the story. Also veering away from a traditional sense, no wireless mics were used, but rather mics on stands, much like a rock concert and a blues jam session were taking place. Set to the scene of a cabin in the woods, it was like a Hillbilly Hootnanny type Speakeasy for the fucked up and weird. The only difference is the audience held the key, they were the password, and once the lights dimmed and the story began, we lay decimated in the sheer genius of the work.
From top to bottom, this cast is exquisite in stage presence, in talent, in storytelling, this is the cast, the company, the ensemble that dreams are truly made of. Not a weak link in the company everyone involved comes together cohesively to tell the story of the brothers and the girls they loved, and the effect they left on the audience will stay with me days, and even weeks hereafter.
As Andy, William Alejandro Barba is at his best. Having experienced his work in the Jobsite arena before (Rocky Horror, The Butterfly’s Evil Spell), here, he is otherworldly. His performance is transcendent and hauntingly good; it will shake you to the core. His battle with Jack is like every brotherly relationship, except that something much deeper is at stake. His vocals are outstanding, and he hands down delivers ten-fold.
As Jack, Dylan Hannesson delivers a performance unlike anything I have ever seen from him. His grit, and brash outside persona paves way for the humanity deep within his storytelling. This is what makes the character so compelling, and makes you want to know more. His commitment is off the charts, and he is not afraid to go for every moment. Vocals are on full display, and the gravely undertone delivered in his solos, perfection in every sense of the word.
As our Troubador, Jonathan Harrison is the little devil on your shoulder, and yet he is the glue holding all of the pieces together. Donning a black slicker like jacket, and cowboy hat, he looks like the perfect cast member of the next Rob Zombie film, and sinister to boot. Standout moment from him has to be “Thats Me!,” showcasing powerful vocals throughout, Jonathan is on top of his game.
Frank, played by the ever-talented Cameron Kubly, is yet another ill-fated brother at war over a girl. As always, his stage presence is unmatched, and his ability to pull each member of the audience in on his journey is unparalleled to anything I have seen in the area. There is something so intriguing about him, that each time he steps on stage, you automatically want to know more, and Cameron is the perfect tour guide.
As the Caretaker, Spencer Meyers is exquisite. His character is lurking about the cabin, popping in and out at times, and making you feel ever so uncomfortable. His eagerness to push the envelope is shown well here, and its captivating to watch.
As Anna, Kayla Witoshynsky is remarkable. Her vocals are outstanding, and her stage presence is unmatched. Having last seen her in the Jobsite arena as Juliet in Romeo & Juliet, it was nice to see her again. I like the longer arch the female characters received in this adaptation, making their depth more into the story, as opposed to just surface characters.
Noa Friedman is a standout as Jenna. Her vocals are haunting, and her ability to focus all of her energy into every look, every movement is magnetic and captivating, and makes it impossible to look away. The sheer genius that travels from one end of her fingers to the other, allows for a performance that is so definitive, so precise, that its no wonder she is quickly becoming one of the most sought-after actresses of our region.
Last, but definitely not least, is the exceptional Blake Smallen as Drake. This is the finest, and probably most no-holds-barred performance I have ever had the chance to witness them in. From the gritiness behind the vocals, to the mannerisms and the way they carry themselves throughout the space, their presence is unmatched. When the guitar comes out late in the show, it takes the performance to the next level. There is something in their eyes, the way they move about the space, and their overall delivery that makes you hang on their every word. Bar none, their strongest, most grounded performance to date, and one I will remember for time to come.
The four-piece band led by the incomparable Jack of all trades, Jeremy Douglass, is exceptional. Ande on Drums, Mark Warren on Guitar, and Joe Grady on Bass equals a match made in heaven. The genius behind pairing down from a full orchestra to a four- piece combo is what makes the composition of the overall piece so intriguing. With the intrigue comes this new breath of life, this almost guttural reality that in its delivery is something deeply rooted, grounded, and altogether finite.
David Jenkins, has in a way of words, out done himself here, in the best of ways. He has created a fictional world, derived from the minds of some of the greatest modern storytellers, and turned it into something current and unnerving. You want to feel for the plight of these characters, but at the very same time, feel uncomfortable as well. Over the course of a rather swift 90 minutes, a story is told. It will leave you speechless, breathless, and wanting to see more. This is the mark of incredible storytelling. With a swift hand, and a keen eye for detail, David Jenkins and Company have achieved just that.
Technically speaking, Ghost Brothers of Darkland County, is a marvel. From the run- down cabin vibe created by Chris Giuffre, it helped showcase the world of the show. Lighting Design by Jo Averill-Snell, made exquisite use of shadows(dark and light) to help keep the movement of the story seamless, and to give it more of a “haunted house vibe.” Costumes by Katrina Stevenson are fitting to the world of the story, and allow each character, a unique perception of their own individual universe in relation to the story. Choreography by Alexander Jones isn’t so much dancing as it is “juking,” “vibing,” and moving throughout the world of the show to create pictures to push the motion forward. This adds to the grounded nature of the piece, and allows reality into the world of the paranormal. Precision is key and its shown here in abundance.
Jobsite continually proves to have a hold on a certain “niche-market,” of programming. With Ghost Brothers of Darkland County, they have however created a world, that I for one could visit a thousand-times over. So if you’re looking for something a little gritty, a little unorthodox, and a downright “Hootnanny of the fucked up and weird,” then Jobsite and its Company of exquisite storytellers just might be the ticket. Ghost Brothers of Darkland County, plans to deliver a hauntingly-good time through November 9, 2025 at the Straz Center’s Shimberg Playhouse. Hurry over to www.strazcenter.org for tickets. This story is not around for long, but its impression will leave you breathless, thoughtless, and downright awestruck for days after. Trust me when I say, it doesn’t get better than this, and I for one am damn proud to include Jobsite and its players in very esteemed company.
PHOTO CREDIT: JAMES ZAMBON PHOTOGRAPHY
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