Adapting Huck
The central character of both Adventures of Huckleberry Finn and Big River is, appropriately, Huckleberry Finn, a boy on the run from his abusive father and from the St. Petersburg townspeople who want to civilize him. The character Huck in Big River largely stays true to his counterpart in the novel, but he does change in a few significant ways.
One major similarity between the two portrayals of Huck is that he serves as the narrator of both Adventures of Huckleberry Finn and Big River. In the play, this is represented through Huck's many asides to the audience which describe what is occurring in each scene, usually in the exact words of the book. In this way, both stories are told through the lens of Huck's unique perspective.
Although many of Huck's exact words and actions come directly from Twain's novel, there are some small changes in the way that Huck is portrayed in the musical. Firstly, Huck appears to be more sly and rebellious in Big River, in a way that is quite similar to Tom Sawyer's mischievous demeanor. While Huck's mistakes in the novel are usually accidental, in the play he misbehaves on purpose to provoke his guardians. For instance, in the novel when Huck decides not to try to get to Heaven, he tells readers that, "I never said so, because it would only make trouble, and wouldn't do no good." This Huck who wants to do no harm contrasts with the Huck in Big River, who mischievously tells Miss Watson directly that, "I can't see no advantage in going where you're going, so I've made up my mind I won't try for it" (Hauptman 7). In addition, when this comment causes the Widow Douglas to "spank him with a switch," Huck "looks at the audience and grins" and responds sarcastically: "Then the widow'd give me a whipping, which cheered me up a little" (Hauptman 7). This Big River Huck finds humor in the way Miss Watson and the Widow Douglas chastise him, rather than distress and annoyance. The effect that this has upon the story is that Huck appears to be more charismatic than reflective, possibly a more effective characterization in a theatrical setting, where high energy is necessary to convey the story well.
One major similarity between the two portrayals of Huck is that he serves as the narrator of both Adventures of Huckleberry Finn and Big River. In the play, this is represented through Huck's many asides to the audience which describe what is occurring in each scene, usually in the exact words of the book. In this way, both stories are told through the lens of Huck's unique perspective.
Although many of Huck's exact words and actions come directly from Twain's novel, there are some small changes in the way that Huck is portrayed in the musical. Firstly, Huck appears to be more sly and rebellious in Big River, in a way that is quite similar to Tom Sawyer's mischievous demeanor. While Huck's mistakes in the novel are usually accidental, in the play he misbehaves on purpose to provoke his guardians. For instance, in the novel when Huck decides not to try to get to Heaven, he tells readers that, "I never said so, because it would only make trouble, and wouldn't do no good." This Huck who wants to do no harm contrasts with the Huck in Big River, who mischievously tells Miss Watson directly that, "I can't see no advantage in going where you're going, so I've made up my mind I won't try for it" (Hauptman 7). In addition, when this comment causes the Widow Douglas to "spank him with a switch," Huck "looks at the audience and grins" and responds sarcastically: "Then the widow'd give me a whipping, which cheered me up a little" (Hauptman 7). This Big River Huck finds humor in the way Miss Watson and the Widow Douglas chastise him, rather than distress and annoyance. The effect that this has upon the story is that Huck appears to be more charismatic than reflective, possibly a more effective characterization in a theatrical setting, where high energy is necessary to convey the story well.
The most striking difference in Big River's portrayal of Huck is the dynamic nature of Huck's character. In the novel, Twain leaves the question open as to whether or not Huck is inwardly changed as a result of his adventures on the raft with Jim. Huck treats Jim as a friend in the novel, but he also seems to believe that slavery is right even to the very end, simply because his mindset is shaped by his slave-holding society.
However, Big River emphasizes the way that Huck changes as a result of his journey and friendship with Jim. There is little ambivalence as to whether Huck's mindset improves-- Huck appears to find the truth at the end of his journey. The third song in the musical, called "Waitin' For the Light to Shine," expresses Huck's realization that "the things I've done, in fact each and every one, are the way that I was taught to run" (Hauptman 15). Huck sees early on in the play that his society's truths are not necessarily true, and recognizes his need for a new "light," or truth, to emerge from within himself. This song ushers Huck onto his path towards finding that "light", and gives the audience hope that Huck will find it at some point during the play. The reprise of "Waitin' For the Light to Shine" is also significant; Huck sings the song again, and the second time is joined by the slaves on the Phelps' plantation. This reprisal takes on a new meaning, coming from characters in slavery; "light" represents not only truth, but freedom. The mutual desire for "light" in their lives creates a connection and understanding between Huck and the slaves, and suggests a universal humanity that transcends racial bounds. Ultimately, the reprise of this song suggests that Huck does change throughout the musical-- after building a friendship with Jim, he can now sympathize with the plight of slaves, and recognize that the universal need for freedom from an oppressive society is more true than the beliefs about slavery he has been taught.
Huck’s more dynamic character in Big River is possibly more fulfilling for modern audiences, who unlike Twain's readers, can relate to and applaud Huck's realization that truth is not necessarily what society teaches. In the end, a changed Huck makes for a more conclusive ending, sending the message to the audience that one must seek truth for himself, rather than letting society's training determine personal beliefs.
However, Big River emphasizes the way that Huck changes as a result of his journey and friendship with Jim. There is little ambivalence as to whether Huck's mindset improves-- Huck appears to find the truth at the end of his journey. The third song in the musical, called "Waitin' For the Light to Shine," expresses Huck's realization that "the things I've done, in fact each and every one, are the way that I was taught to run" (Hauptman 15). Huck sees early on in the play that his society's truths are not necessarily true, and recognizes his need for a new "light," or truth, to emerge from within himself. This song ushers Huck onto his path towards finding that "light", and gives the audience hope that Huck will find it at some point during the play. The reprise of "Waitin' For the Light to Shine" is also significant; Huck sings the song again, and the second time is joined by the slaves on the Phelps' plantation. This reprisal takes on a new meaning, coming from characters in slavery; "light" represents not only truth, but freedom. The mutual desire for "light" in their lives creates a connection and understanding between Huck and the slaves, and suggests a universal humanity that transcends racial bounds. Ultimately, the reprise of this song suggests that Huck does change throughout the musical-- after building a friendship with Jim, he can now sympathize with the plight of slaves, and recognize that the universal need for freedom from an oppressive society is more true than the beliefs about slavery he has been taught.
Huck’s more dynamic character in Big River is possibly more fulfilling for modern audiences, who unlike Twain's readers, can relate to and applaud Huck's realization that truth is not necessarily what society teaches. In the end, a changed Huck makes for a more conclusive ending, sending the message to the audience that one must seek truth for himself, rather than letting society's training determine personal beliefs.