Review: DAS BARBECÜ at Stages Houston

So what happens when a four-part, 15-hour epic Norse opera by German composer Richard Wagner gets boiled down to two hours and set in modern-day Texas? A hilarious, rip-roarin’ night at the theatre is what! With book and lyrics by Jim Luigs and music by Scott Warrender, DAS BARBECÜ will have you laughin’ and shimmyin’ in your seat!

Now, after doin’ a little diggin’, it seems this musical mainly draws from the third and fourth operas in The Ring Cycle, with a few sprinkles of the first two tossed in for context. There’s gods, there’s mortals, the former meddlin’ with the latter, siblings are schemin’ to break up the original lovebirds… It all gets explained in song, which helps a ton, but from that point on, you might want an org chart. Even so, this is a fast and furious musical comedy packed with quick changes, what seems like 100 costumes, and five incredible actors who are clearly havin’ the time of their lives.

Directed (and choreographed) brilliantly by Mitchell Greco, who’s tackled two previous pared-down productions of this show here in Houston, DAS BARBECÜ leans hard into the absurdity while still keepin’ a steady hold on making sure the characters are givin’ us what we need to follow along. The action is quick, and so are a lot of the songs, but I understood every lyric, caught every nuance and loved every all the dancin’.

Now, let’s talk about costumes—because this here’s a passion of mine. With so many characters and lightning-fast quick changes, it’d be easy to rely on wigs or accessories to tell folks apart. But oh no sir, not here. Clair Hummel delivers full-concept costumes for each character: wigs, accessories, outfits and all. And y’all, there are some real showstoppers. I’m talkin’ Aquarena Springs mermaids, two weddin’ gowns, matchin’ sequin chorus numbers…and more!

I also can’t skip over scenic design and props (by Kirk Domer and Jodi Bobrovsky respectively). Walkin’ into the Smith Stage felt like steppin’ into a honky-tonk deep in the heart of—well, you know. The five-piece band was right there in full view, as was a lot of meat… Every set piece and every prop is purposeful, placed and struck by the cast, and it’s all clever and seamless. One last thing, and I swear I ain’t makin’ this up: I never thought I’d see an oversized oil barrel pull double duty as a prison cage for an evil dwarf-god. But I did. And y’all’ll just have to see it for yourselves. 

Musically, this show covers the whole country spread—hoedowns, campfire ditties, powerful ballads, and even a duet between two brides fightin’ over a BBQ table (it is in the name, y’all). These performers hit every song like they’re tenderizin’ beef. Even the more off-the-wall numbers (lookin’ at you, “Makin’ Guacamole”) are a hit, thanks to the cast’s talent, voices, and clever staging.

Speakin’ of the cast, with only five actors playin’ over 30 characters, everyone’s gotta shine—and they do. I’ve long been a fan of Stages veteran Holland Vavra, who commands the stage whether she’s actin’, singin’ or dancin’. As Guturne, she’s heartfelt and sincere, caught up in love and unaware she’s bein’ used by her evil half-brother. Carolyn Johnson brings stellar range and comedic timing to every role she plays. Her Fricka is unforgettable as a woman we all either know, or are related to. Gemini Quintos, as Brunhilde (once a Valkyrie, now a mortal) delivers a powerful, grounded performance, and her vocals soar in her solo, “County Fair.”

John Ryan Del Bosque tackles the roles of Wotan, Hagen, and Gunther with skill and clarity, each one distinct. His voice is clear as a bell in “River of Fire,” and he brings a lovable presence to the stage. Braden Tanner’s Siegfried is a true country star—guitar in hand, charm dialed all the way up. The harmonies throughout the show, whether in duets or big ensemble numbers, are tight and rich, and the vocals filled that arena theatre like a strong southern breeze.

Now, aside from needin’ an org chart (which honestly should’ve been included in the playbill), I had one lil’ disappointment. There’s a rotating stage! Y’all. A light-up, spinnin’, metaphorical “ring of fire.” And it wasn’t used near enough. I wanted that sucker spinnin’ every other number, especially at the climax when jilted bride meets jilted bride across a table piled high with the barbecued wedding feast.

So in the end, does a country-western spoof of The Ring Cycle work? Yep. Will you be confused at times about who’s who and what’s happenin’? Also yep. Do you care? Nope, not one bit—‘cause you’ll be havin’ too much fun laughin’ and soakin’ in all the madness. And really, who better than Texans to take a tale this big, with characters this epic, and make it work?

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