Asolo Rep's 'A Year With Frog and Toad' explores the seasons of friendship

Scott Keys says some of his favorite characters are frogs and toads. “A Year With Frog and Toad” introduced him to those amiable amphibians; he’s directing the Asolo Repertory Theatre production of Robert and Willie Reale’s musical. This heartwarming, hilarious show follows the yearlong adventures of Frog and Toad. Adapted from Arnold Lobel’s beloved children’s classics, the musical odyssey is structured as a series of short vignettes. According to Keys, the theatrical journey is well worth taking.

As a director, you’re focusing your adult brain on “A Year with Frog and Toad.” Has that changed your take on Arnold Lobel’s original children’s stories?

No. Before directing this show, I didn’t have a take. I hadn’t actually read those stories as a child. I’d heard of “A Year With Frog and Toad,” but I assumed it was a musical adaptation of “Wind in the Willows.” But Peter Rothstein, Asolo Rep’s producing artistic director, is big on children’s theater. He reached out to me and asked if I’d like to direct a summer production, and I said “yes.” Once I did my research, I realized this musical has nothing to do with Kenneth Grahame’s classic. It’s an adaptation of a very American, very popular set of children’s books. After I read the source material, I fell in love.

How do you balance musical entertainment and faithful storytelling?

Well, Willie Reale’s script does that — it follows Lobel’s stories very closely. His books definitely do have a story arc — the friendship between Frog and Toad ties everything together. But it’s not a linear narrative. The original stories are self-contained and go from one vignette to the next. The musical echoes that — and it bounces from one novelty number to the next. I describe it as “wild, whimsical, woodland vaudeville.”

So, it’s kind of like “Monty Python and the Holy Grail.” That movie was officially a story about the grail quest. But it was really sketch, sketch, scene, scene. Each bit stood on its own.

Yes, exactly. In “Frog and Toad,” it’s sketch, song, sketch, song. But the structure’s very similar.

Is directing at Asolo Rep a big step up for you?

It’s been an incredible step. It’s kind of a bucket-list moment for me. I’ve directed all over Florida and have known the Asolo folks for years, but I’ve never had the chance to direct there until now.

You’ve literally reached a new stage in your career. How does it feel? 

Asolo Rep offers a much bigger theatrical sandbox to play in — more people, more resources and a very professional environment. You get your set and props on day one, and the support is amazing. It’s creatively energizing — and it feels great.

Does working with student actors impact your direction?

No. But “student actor” really gives the wrong impression. They’re all talented, well-trained and experienced. Working with them has been a dream. They’re willing to try anything. One can do a split jump? Great! We’ll add it.

Are you having fun in rehearsals?

Oh my gosh, so much fun — every day. As a director, you walk in thinking, “How am I going to make this work?” But from the moment we start, it’s pure creative joy. We get along fabulously. The young actors are all outstanding – and they bring their own ideas, too. The process is collaborative and communicative — there’s a real “yes, and” energy. We’re having a blast.

Does that apply to your other creative collaborators?

Absolutely. They’ve all been a blast! Carl Haan, our brilliant music director, has been a joy to work with. And Cat Brendisi, our choreographer, has become a dear friend. We’ll sit through rehearsals and talk about style. Or I’ll call her out of the blue with a brainstorm. Just the other day, I had an idea for “I’m Coming Out of My Shell,” Snail’s big vaudeville number. I said, “What if we do it as a striptease — but family-friendly? Snail’s in gloves and a scarf for most of the year. He delivers this letter in winter and finally feels fulfilled — and comes out of his shell!” Cat loved the idea. That’s how we work — lots of sharing and “what ifs.”

How do the designers capture Lobel’s whimsical tone?

Set designer Natalie Eslami has been incredible. She loved the “Frog and Toad” books as a kid. [The original] illustrations were very simple. She references them, but we wanted to go more stylistic. For spring, she suggested vintage lampshades as flowers. She plays with scale — like big blades of grass and oversized props. Natalie also plays with duality. Downstage, it’s a slatted wood floor. Upstage, it becomes a grassland. Costume designer David Covach has also been very inventive. So, our Birds are 1920s flappers with feather boas and headpieces. Snail is a little bumpkin with a big backpack roaming the forest. He dressed Frog in all greens — very dapper and debonair. Toad’s costume is in browns and oranges with polka dots.

Image courtesy of Adrian Van Stee

Are the actors in amphibian makeup?

No, the characters are very anthropomorphized. We’re suggesting their animal natures through color and texture, not their costumes. They hop into place sometimes. But no makeup, and no frog suits.

How do design and performance evoke the passage of the seasons?

In autumn, leaves fall from the ceiling. Frog and Toad rake each other’s leaves — then squirrels mess them up. As winter approaches, snowflakes fall. Frog and Toad hibernate in winter, wake up in spring. The whole year is a cycle of friendship. Just very playful little vignettes.

This show is part of Asolo Rep’s educational outreach. Does that influence your directorial choices?

Yes. Having been a teacher and director, I’m keenly aware of the educational dimension. We’re targeting a younger audience, and hoping their parents or grandparents will come too. Asolo shows are typically more mature — “Frog and Toad” is specifically for young people. Our dramaturg, James Monaghan, is putting together some wonderful activities — like mazes, word searches and a gallery of famous amphibians. There’s even a “Write a letter to your best friend” prompt. It ties into the show’s throughline of Frog writing Toad a letter. Ideally, the students will write and mail an actual letter, not just an email.

Why is that important?

Because a letter in the mail is real human contact. That’s what “Frog and Toad” is all about. They’re friends together in the real world — they’re not communicating through screens. I was listening to an NPR talk about how in-person connection is vital to mental health — and I agree 100%. An actual physical letter you take the time to write creates that personal connection. Hitting a "like" or sending an emoji just isn’t the same. Live theater is another deeply human connection. Being in a room with other people, sharing an experience — kids need that.

What’s your ideal audience takeaway?

At its heart, “Frog and Toad” is the story of an enduring friendship. It’s about two friends coming together. Despite their different temperaments, they’re deeply connected. And they’ve both left their comfort zones.

How so?

Because they’re amphibians! Frog and Toad are creatures of two worlds. They’ve both adapted to the land — but they both grew up in the water. Now they’re off on a new journey. They go from hibernation to hibernation across four seasons. Along the way, Frog pushes Toad to try new things. Toad is more timid. They have little spats, but also share big adventures. Together, they make each other better. That’s the essence of a real-world friendship.