Oscar E Moore

About the only redeeming feature of the lonely, annoying, whining and very out gay-boy/man Jordan Berman (Gideon Glick) in SIGNIFICANT OTHER is his Grandmother Helene Berman (a twinkling Barbara Barrie) who is suffering from the onset of dementia, has a predilection for various means of suicide, old photos and is absolutely charming.

She is the only aspect resembling anything remotely charming in this newest play by Joshua Harmon which goes on a bit too long with some diarrhea of the mouth monologues and melt downs by Jordan as his three best girlfriends – one by one – waltz down the aisle – leaving him in the lurch, wondering if he will ever be so lucky.

They party often. Drinks flow as well as private and intimate thoughts. They are best friends…until they find someone to help them get through life. Not necessarily happily. It reminded me of COMPANY – where Bobby surrounds himself with married couples while trying to find the girl of his dreams – but with a lot less finesse and a lot less insight.

The three girlfriends are your typical trio of New York go-getters. Kiki (Sas Goldberg) is the most outspoken and vibrant. Vanessa (Carra Patterson) is a more mellow, gum chewing editor. Laura (Lindsay Mendez) is a good listener who likes her food as well as men despite being a bit “schoolmarm-ish.” They take turns advising their good friend Jordan as to what he should or shouldn’t do when he obsessively falls for hunky Will (John Behlmann) at work with his size twelve green converse sneakers.

He doesn’t even know if Will is gay. Will is a history buff with a buff body as well. They go to a movie. There is little face to face conversation. Little connection. That is left to e-mails and texts and laptops in today’s theatrical offerings. What a sad commentary.

We are put in the position of bystanders as each of their sagas unfold at Laura Pels Theatre. At one point in Act II – yes there is a second act. I wanted to jump up and scream at Jordan – who was having his second melt down of the evening and shout at him –“Get over yourself!” It was too much as he berated Laura for abandoning him. It was her marriage but his funeral.

Why anyone would even think of dating this guy let alone spending two hours with him and company is questionable. He really has nothing going for him and he must be zilch in bed as well.

When things get tough he phones Grandma who despite her failings is honest and still wise from the old school. But does he learn from her? Don’t ask.

The affable John Behlmann along with the agreeable Luke Smith play the various other men in all their lives exceedingly well.

Director Trip Cullman with a keen eye for detail has done a great job in bringing the character’s quirks and this episodic play to life – with a glance or a pause that fills in where the sometimes amusing dialogue runs short.

Nice contemporary costumes by Kaye Voyce and an interesting set by Mark Wendland provide a spark of originality that is missing in this oft told tale of an unhappy gay guy who only has females to fall back on. A ROUNDABOUT production.

Photos: Joan Marcus

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www.roundabouttheatre.org

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I never imagined myself having to critique God but here I am reviewing the Almighty in this ninety minute one act stand-up comedy routine starring the droll and personable Jim Parsons who delivers most of God’s schtick sitting down on his white sofa accompanied by two angels with enormous wings:  Gabriel (Tim Kazurinsky) reading and quoting from his Gutenberg Bible and Michael (Christopher Fitzgerald) roaming the audience and asking obviously prepared questions by the playwright David Javerbaum who has won multiple Emmys adapting this “act” on his book – The Last Testament:  A Memoir by God and his Twitter account @TheTweetOfGod which has 1.94 million followers that should keep Studio 54 full for its entire run.

That is if you like this sort of stuff, remember your Bible stories from Sunday School and adore the man in charge – Jim Parsons aka Sheldon Cooper of THE BIG BANG THEORY.

Holding forth on a heavenly set designed by Scott Pask (with a grand MGM type stairway to Heaven) and divinely lit by Hugh Vanstone, Jim Parsons greets his flock of faithful Sheldon followers with some corny jokes and some up-to-the-minute celebrity barbs with his “off-beat” charm that mostly holds our attention but is certainly not worthy of the cost.

It’s an update on The Ten Commandments, the nature of existence, the Creation, Evolution, masturbation (with a small “m”) as seen through rainbow colored eyes with a very gay agenda.

Late comers will be admonished with a great line and a cell phone (planted) gives God the opportunity to take a “selfie” with his two angels. There is even a bid at selling some AN ACT OF GOD merchandise to help fill out the production’s allotted time slot.

An overlong rendition of the Abraham and Job sagas makes one hungry for the very funny barbs and observations of this particular Almighty. Jim Parsons handles himself well, is in full control and is as funny as his material will allow. But when death is dealt with – what’s funny becomes uncomfortably questionable.

Joe Mantello directs as he did in Bette Midler’s riff on Sue Mengers – I’LL EAT YOU LAST. It appears that he has a penchant for his stars sitting on sofas while dishing.

Only here there is a lot of Thee and Thine and Thou’s thrown in. And a song for good measure.

All in all AN ACT OF GOD is pure Parsons. If you love the man you’ll adore his self- deprecating, imperfect Almighty who will leave you with that oft quoted adage “to have faith in yourself.”

At that old den of iniquity Studio 54. Through August 2^nd ONLY

Photo: Jeremy Daniel

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www.anactofgod.com

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Robert Creighton, the star of CAGNEY – an ambitious, superficial biographical musical of the legendary stage and screen star James Cagney – has a fine tenor voice, nimble feet and at times an eerie resemblance to Mr. Cagney but without the “it factor” charisma that made “the tough guy who tapped” exceedingly memorable.

The amiable Mr. Creighton along with his five fellow actors (who portray an assortment of stock characters) work valiantly to make this musical entertaining but get bogged down by the sluggish book by Peter Colley, uninspired direction of Bill Castellino and poor score provided by Christopher McGovern.

Mr. Creighton has provided the music and lyrics to “Falling in Love” – a duet with Willie (Ellen Zolezzi) his soon to be wife that he had met while performing as Lola Fandango in 1923. Along with “How Will I Be Remembered?” and a rousing tap dance off between Bob Hope and Cagney. More on Hope later…

Jack Warner (an excellent Bruce Sabath) may have been a louse but he knew how to make a star out of a no-body. Their relationship was tempestuous to say the least. Two strong headed bucks locking horns. They parted ways often but Cagney always came back to Warner Brothers where he made 28 money making gangster films, famously improvising a button for a scene he filmed with Mae Clark – THE PUBLIC ENEMY – with half a grapefruit smashed in her face.

It is at the 1978 SAG Lifetime Achievement Awards that we see Cagney and Warner reminiscing and then in flashback the hits and misses of Mr. Cagney’s long life.

His Ma (Danette Holden who bears a striking resemblance to a young Jane Curtin) whom he adored and helped financially, his gracious brother Bill (Josh Walden) who produced some of Cagney’s cinematic flops and Bob Hope (Jeremy Benton – a fine singer and dancer who doesn’t look or sound a bit like Hope which is extremely detrimental to the overall production).

Taking a short Act II detour into the assumed political “Commie” proclivities of Cagney is interesting but skimmed over to get to the songs the audience has been eagerly awaiting: The USO Medley with many of Cohan’s greatest all-American toe tapping hits that excel with fine-tuned choreography by Joshua Bergasse.

Bruce Sabath (Jack Warner) has a brief scene as a GI fan come to see Cagney that is extremely touching and overshadows many of the less convincing moments of CAGNEY the musical that runs through June 21^st at The York Theatre.

The surrounding walls of the York stage have been covered with the many subdued black and white movie posters of Cagney’s film career. They frame the multi paneled stage designed by James Morgan that allows for some nifty projections by Mark Pirolo and the excellent five member band to play both the hits and misses of the score.

From THE PUBLIC ENEMY to WHITE HEAT and THE SEVEN LITTLE FOYS the hoodlum that would be a hoofer holds court eventually winning an Oscar for YANKEE DOODLE DANDY. Unfortunately CAGNEY doesn’t live up to its legend.

Photos:  Carol Rosegg

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www.yorktheatre.org

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Under the tutelage of the usually perfect Bartlett Sher this revival is a really big production with one really big problem.  There is a big orchestra (29).  A big cast (51) on a big stage.  Big hoop skirts (Catherine Zuber).  A big Buddha.  Big sets (Michael Yeargan) including the arrival of a very big boat that threatens not to stop in time bringing the British widow and future schoolmarm to the children of the King of Siam Anna Leonowens (Kelli O’Hara) and her young son Louis (Jake Lucas).

It is apparent that the budget is also big. No expense has been spared. THE KING AND I is a really big production that would all but be impossible were it not for Lincoln Center Theater.

So now, the big question. Why cast someone who obviously has a problem with the spoken English language as the King of Siam? A man who can be heard but not understood most of the time. A man bellowing phonetic sounds. Not clear words. Garbled sentences. It’s a puzzlement.

I am afraid that this all but ruined the show for me. Straining to understand I finally gave in and zoned out. To boot there is next to zero electricity between the King and Kelli O’Hara who gives a fine performance with her beautiful presence and exceptional vocals.

Richard Rodgers and Oscar Hammerstein II tackled successfully some mighty big themes in musicalizing the novel “Anna and the King of Siam” by Margaret Landon in 1951 that are still pertinent today. Polygamy. Misogyny. And the demeaning of anyone thought to be one’s inferior.

Mr. Hammerstein wrote a magnificent libretto that is wise and touching and brave and lyrics that develop character and move the complex plot forward with ease. Mr. Rodgers matched every word with gorgeous, romantic melodies that linger on to this date and rightfully made them a fortune.

It’s a clash of cultures. He wanting not to budge an inch. And she desiring to educate. Especially the women – not to bow down to their Lord and Master. To challenge authority. Two people equally matched fighting for what they each believe in. Too bad we only get half of the battle most of the time.

The supporting players are wonderful. Especially Ruthie Ann Miles as Lady Thiang – the King’s head wife. All his children (it’s a big family with many wives) are introduced in a delightful manner – they each have their own individual personalities as they are presented in “The March of the Siamese Children” that is quite refreshing. As the heir to the throne Jon Viktor Corpuz finally comes into his own at play’s end.

As the young, secret lovers Tuptim – a “gift” to the King of Siam from the King of Burma (Ashley Park) and Lun Tha (Conrad Ricamora) bring romance and passion to their famous duets. When Anna gives Tuptim a copy of “Uncle Tom’s Cabin” the plot takes off culminating in the famous ballet choreographed by Jerome Robbins and tweaked by Christopher Gattelli – “The Small House of Uncle Thomas” – the highlight of the production due to the charismatic dancing of Xiaochuan Xie as Eliza speaking nary a word.

Respectfully, I only wish that Ken Watanabe, said King, would make more of an effort to be understood. Why spoil an otherwise perfectly wonderful production? It’s a huge puzzlement.

At the Vivian Beaumont. Open run.

www.lct.org

Photos:  Paul Kolnik

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Oh to be an usher at the St. James Theatre.  Oh to be able to relish over and over again the “song and dance, romance and happy ending” of SOMETHING ROTTEN!  Not to mention the hilarity and show stopping numbers.  The wondrous and witty lyrics.  The sing along tunes.  The thespians.  The fair maidens, tap dancing eggs and hefty cod pieces.  Everything catches the eye and ear.  And one better be quick and attentive or else you will miss the endless satirical theatrical references to everything musical comedy-ish, Shakespearean and naughty.

We must bow down to or stand up and cheer the brothers Kirkpatrick – Karey and Wayne and John O’Farrell who have concocted this truly original non-stop laugh fest that combines the names of many of Shakespeare’s characters (and Shakespeare himself), the skewered wit of Forbidden Broadway and the smart and clever lyrics reminiscent of Cole Porter to some very memorable tunes. It’s an all-around hoot. A cartoon come to life in living color.

The Bottom brothers Nick (a robust Brian D’Arcy James) and Nigel (a shy but determined John Cariani) need to come up with a new idea for a play for their theatrical troupe to outdo their arch rival Shakespeare (an amazing rock-star influenced Christian Borle) whose “Will Power” has the audience begging for more.

Nigel wants to be true to himself and write from the heart. Nick is more practical and seeks the advice of a soothsayer – Nostradamus (a delirious Brad Oscar) who foretells that the next big thing in theatre will be actors singing songs which leads to the Act I showstopper “A Musical.”

Along the way Nigel falls for Portia (Kate Reinders – the look alike/sound alike Kristin Chenoweth – a brilliant touch done on purpose I’m convinced) the daughter of the Puritan Brother Jeremiah (the not very subtle Brooks Ashmanskas) whose sexual innuendo jokes are delicious and never gross.

Along the same way Nick’s trying to be liberated wife Bea (the always dependable Heidi Blickenstaff) attempts to earn some money doing a man’s job while tending their newborn baby and singing up a storm and being funny to boot.

Peter Bartlett just has to appear as Lord Clapham as a Patron of the Arts to induce giggles and then guffaws as he goes into his act. And Gerry Vichi as Shylock is as convincing a token second banana Jew as one can get.

There are disguises. Romance. Frivolity. And another show stopping number “Make an Omelette” (not to be confused with Hamlet) with a chorus of dancing eggs tap dancing their way into theatrical history. See the show for details.

Not only is SOMETHING ROTTEN! an avalanche of laughs but it is beautiful to look at thanks to set designer Scott Pask, costumes by Gregg Barnes and lighting by Jeff Croiter recreating jolly old London.

Direction and choreography is spot on by Casey Nicholaw. What a master he is! Once the show begins with Michael James Scott as the Genie inspired Minstrel SOMETHING ROTTEN! barrels forward to its heartfelt and glorious ending. It’s an absolutely funtastical entertainment.

www.rottenbroadway.com

Photos:  Joan Marcus

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Claire Zachanassian’s (Chita Rivera) entrance is eagerly awaited by both the downtrodden townspeople of Brachen Switzerland – thinking she will save them – and New York audiences anxious to see their beloved legend at the Lyceum Theatre in this “artsy” one act musical of the 1956 play by Friedrich Durrenmatt by Kander & Ebb with a new book by Terrence McNally.  She doesn’t disappoint.  Mostly.

With a sweep of her arms, with a kick here and there, with a swish of her skirt we remember Chita.  We remember what a marvelous dancer and entertainer she was and continues to be.  We are seeing her through our eyes of the past.  With her raspy but distinctive voice she talk/sings her songs.  She is a riveting presence but she falls a bit short in delivering the inherent nastiness that Claire ought to have in spades.  Does it matter?  Not really.

She’s a trouper.  A real honest to goodness Broadway Baby.  Looking elegant and regal in her white gown designed by Anna Hould-Ward.  Her bejeweled neck dazzles and she indeed looks the part of the wealthiest woman in the world (half Jewish/half Gyspy who has had six husbands) returning to her homeland seeking revenge on the love of her life – her first love – Anton Schell (an excellent Roger Rees) a lowly shopkeeper who abandoned Claire when she was pregnant with their child to marry Matilde (Mary Beth Peil) whose father owned the shop he now runs.

Claire was forced to flee Brachen and has been plotting ever since to retaliate for Anton’s abandonment, arriving in town with a coffin, her butler Rudi (Tom Nelis) and eunuchs Louis Perch (Matthew Deming) and Jacob Chicken (Chris Newcomer) wearing the as yet to become fashionable and best-selling (on credit) yellow shoes.  Over the years she lost a leg and an arm but made up for it by concentrating on amassing wealth.

Director John Doyle and company haven’t really decided if this production should be expressionistic, Brechtian or mainstream.  McNally’s book at times is pure musical comedy with not enough sting.  There is a little bit of everything which makes for an uneven presentation.  All those “yellow” props become distracting as “symbols.”

But the addition of a young “wild-cat” Claire (Michelle Veintimilla) and a young “panther” Anton (a striking John Riddle) is a brilliant touch throughout.

Claire will help the town financially but they must murder Anton so that she can take him away to Capri.  Will greed win out?  Is Chita the reigning Queen of Broadway?

The score is serviceable with a beautiful and memorable “You, You, You.”  We are hearing the best past strains of Kander and Ebb and so we make do.  The score has been expertly arranged and orchestrated by David Loud and Larry Hochman respectively and the graceful choreography by Graciela Daniele keeps the show moving along romantically with a touch of the macabre.

Over the years (fourteen to be exact) this musical has had a series of face lifts resulting in this uneven production that sports some magical moments and some wrinkles along the way.  www.thevisitmusical.com

Photos:  Joan Marcus & Thom Kaine

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Virginia Beach, Virginia is a long way from Siberia.  One wonders why Kelli Barrett a girl from said location and as American as apple pie was cast in the pivotal role of Lara – the love interest of popular poet and married doctor Yuri Zhivago (Tam Mutu), passionate revolutionary Pasha Antipov/Strelnikov (Paul Alexander Nolan) and the lecherous Victor Komarovsky (Tom Hewitt).

The men are excellent but Ms. Barrett supplies little chemistry with Yuri and Pasha – and in the case of Victor (controlling rapist) one can’t imagine what allure she has for them to be so wildly enamored of her.

She is the second weakest link in this epic, meandering, visually beautiful (with the exception of all those stacked chairs), relentless, spanning three decades, bland attempt at recreating the passion and excitement of Les Miz Russian style.  The weakest link award going to Lucy Simon credited with writing music.  Wait!  It’s a tie – with lyricists Michael Korie & Amy Powers.

A musical needs a score to survive and this score stops it in its tracks.  It’s not what the doctor ordered.

Like the Mississippi River the songs just keep rollin’ along in this almost three hour production directed by an uninspired Des McAnuff who has forsaken intimacy for crowd control.  For some odd reason all the songs begin to sound alike.  That can also be said of the singers.  Are they all in the same key?  At times, it’s difficult to distinguish one voice from another which doesn’t help matters at all.  Ho hum…

Not for a minute do we believe we are in Russia despite the overhead projections of the year and location or “three weeks later” and the mammoth, imperial/battle field sets by Michael Scott Mitchell and period costumes by Paul Tazewell.   And the exceptional lighting design of Howell Binkley.

Small things, unintentionally funny things keep popping up to take us out of Russia.  Like Lara.  Like a ridiculous “sheet waltz” danced by the nurses at the front to the tune of “Somewhere My Love” – Lara’s Theme written by Maurice Jarre and Paul Francis Webster.

There is one song “Now” that catches the ear.  In fact it reminded me of another.   It took me a while to figure it out.  It’s the Marvin Hamlisch/Carole Bayer Sager “Through the Eyes of Love.”  Perhaps I’m mistaken.  In any event both songs are lovely.  But the score just doesn’t do it.  You just might come out of Doctor Zhivago shell shocked and humming the chairs.

At the Broadway Theatre.  www.doctorzhivagobroadway.com

Photos:  Matthew Murphy

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This lackluster and ill-conceived production directed by Kathleen Marshall will be remembered for all the wrong reasons.  Based on the 1985 play “Peccadillo” by Garson Kanin and adapted by the prolific Joe DiPietro LIVING ON LOVE misses the bulls eye by a long shot, In fact it misses the intended target – comedy – almost completely.

The evening belongs to the two butlers Bruce (Blake Hammond) and Eric (Scott Robertson) in the service of Maestro Vito De Angelis (Douglas Sills) and diva Raquel De Angelis (Renee Fleming – making her Broadway debut).  They look alike and share sentences like a long time married couple.

They move the furniture and props about in the gilded penthouse apartment designed by Derek McLane.  They sing some sections of arias during the set changes.  They play four handed piano during the second act while singing “Makin’ Whoopee!”   You just might miss this highlight if you escape after the first act as many in the audience did the night I saw this travesty.  They are the stars of this show.

In reality the star should be Ms. Fleming.   She tries valiantly.  Looking lovely as always.  But she is out of her element here.  Her acting isn’t exactly believable and her comic timing weak.  Her singing glorious.  The meaty part of a demanding diva doesn’t fit her as well as the period gloves she wears complementing her 1950’s outfits designed by Michael Krass.  She is too sweet.  Too nice.

And speaking of costumes – when she is supposed to be Mimi in La Boheme why does she appear looking like Carmen?

The charismatic and dashing Douglas Sills, cavorting in a variety of silk pajamas as Maestro, sports a Sid Caesar-like Italian accent mixing up words (i.e. spooky helper for ghost writer) that wears thin as he attempts to thwart his arch rival Leonard Bernstein and be the charming lothario to his newest collaborator.

Maestro has taken a huge advance ($50,000) that is already gone with the wind to write his memoir with the help of Robert Samson (a miscast Jerry O’Connell) when his wife returns unexpectedly from a failed European tour.   Theirs is a one-upmanship relationship and you half expect them to go into “Anything You Can Do I Can Do Better.”  Diva decides to write her own memoir in retaliation.  When Robert is fired and replaced with Iris Peabody (a miscast Anna Chlumsky in a part that Judy Holliday would have been perfect).  Diva hires Robert.  Both writers move in and you know where all this is going…

Unfortunately it’s down the drain.  Diva has a dog that she sometimes carries around.  Puccini is its name and Trixie last appeared in BULLETS OVER BROADWAY.  Give the dog a break and cast her in a hit.

This production reminded me of a summer stock company of yore that did quasi-comedies and brought in a famous star to headline for the week of performances.  Perhaps one day Charles Busch will star as Raquel de Angelis in Fort Lauderdale.  Now that would be a real diva in action!

NOTE:  The curtain call was the funniest sequence in the entire show.  But a little too late to save the day.

www.livingonlovebroadway.com

Photos:  Joan Marcus

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“Never act with children or animals,” this quote is attributed to W. C. Fields who was rumored to have a strong dislike for children – unless you are Matthew Morrison (playwright J. M. Barrie) and Kelsey Grammer (American producer Charles Frohman/Captain James Hook) who star in this imaginative and thoroughly entertaining new musical that tells the tale of how Barrie was inspired to write PETER PAN when he meets four young boys and their mum in Kensington Gardens, London 1904.

Morrison and Grammer more than hold their own against the darling Llewelyn Davis children.  Not an easy task as the boys are terrific – at the Wednesday matinee performance that was chock full of kids of both genders Christopher Paul Richards (Jack)  Sawyer Nunes (George) Alex Dreier (Michael) and Aidan Gemme (a poised and perfect Peter) were wonderful along with their sheepdog Porthos (Jack) that dutifully enters and exits on cue.

Commencing with the appearance of Tinkerbell on the Victorian show curtain (that garners entrance applause) we briefly meet Peter Pan (Melanie Moore) and Mr. Barrie a famous and wealthy playwright who on this particular opening night isn’t so elated.  Fearing a flop his producer wants Barrie to come up with something new – but not different.

It takes a couple of songs and scenes to get started.  Exposition rearing its necessary head.  But once that takes place, it’s full steam ahead when he meets the kids and their mum Sylvia (Laura Michelle Kelly) with the lively and inspirational “Believe” – that sets Barrie’s imagination churning.

Unhappy at home with his pretentious wife Mary (Teal Wicks) and their amusing servants he gravitates more and more toward the ill-fated widow Sylvia and her brood.  Her philanthropic and ultra-strict mother Mrs. Du Maurier (Carolee Carmello) strongly disapproves of Mr. Barrie.

Little by little inventive director Diane Paulus with the aid of book writer James Graham add bits and pieces of the PETER PAN story that will culminate in an elaborate and exuberant first act finale that sets the audience a buzz at intermission – a sure sign that the show is going swimmingly.

Mr. Morrison is an excellent and serious Barrie – a Scotsman who learns how to regain his childhood imagination with a fine sense of humor.  Mr. Grammer has the meatier roles and he chomps at it with abandon – especially as Hook.  He is a first rate comic with impeccable timing and the two of them are perfect together.

The backstage scenes are done in the style of the period.  Overboard and melodramatic and are very funny.  Especially Paul Slade Smith as Mr. Henshaw who gets to play the dog and Josh Lamon Mr. Cromer who is an unlikely Michael with his teddy bear.

There is a spectacular sequence in Act II that is breathtaking – quite literally that I hope you will go witness firsthand at the Lunt-Fontanne Theatre West 46^th Street.

FINDING NEVERLAND is a lovely musical (some songs by Gary Barlow & Eliot Kennedy are standouts especially the haunting “When Your Feet Don’t Touch the Ground”) that is full of warm hearted humor and emotions that bring on the tears.  It’s for the entire family.  The children will love it and the adults might be inspired to rekindle something that they may have lost by growing up.  Something that Peter Pan refused to do.

www.FindingNeverlandthemusical.com

Photos:  Carol Rosegg

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David Hyde Pierce knows from funny.  He has a great track record.  And in his first ever directorial stint on Broadway he brings out every ounce of funny from his expertly assembled cast.  Funny is good.  Audiences love to laugh.  And IT SHOULDA BEEN YOU supplies farcical fun in its whirlwind 100 building-to-a-surprise-climax-minutes of musical mayhem.

It’s the Steinbergs vs. the Howards.  The very pretty Rebecca Steinberg (Sierra Boggess) is about to marry the very pretty Brian Howard (David Burtka) as plus size and also very pretty sister Jenny Steinberg (Lisa Howard) laments the upcoming nuptials that she has been organizing with the assistance of “the one who lives to serve” Albert (Edward Hibbert) wedding planner of the St. George Hotel (a nicely rendered two tier unit set of the hotel with lots of doors by the always dependable and creative Anna Louizos).

It’s their mothers that are at odds with one another.  The outspoken Judy Steinberg (Tyne Daly) who has a knack  for delivering the gleeful putdown and the always-looking-for-a-helpful-drink Georgette Howard (fancy pants Harriet Harris) whose trust fund son Brian is to wed a Jewish girl.  She does her best to stop him from marrying Becca lamenting the fact that she has done everything to do so including trying to bring him up gay.

Murray Steinberg (Chip Zien) and George Howard (Michael X. Martin) do their best to steer clear of their wives.  And there is an unexpected “bonding” song between Brian and his dad that is sweet, old fashioned and says a lot without hammering us over the head.

Best man Greg Madison (Nick Spangler) and Best woman Annie Shepard (Montego Glover) make up the rest of the odd wedding party.

Mama Steinberg has it in for her heavy set daughter continuing to chip at her self-esteem which isn’t very high to begin with.  When Judy inadvertently calls Marty Kaufman (Josh Grisetti – in a brilliant touch answering his cell phone from the audience) he is alerted that the wedding is to take place and frantically proceeds to stop it.  He had been her best friend until he dropped Becca.

And therein lies the title as all the Steinberg’s sing that he is the one that should be marrying Becca.  Will he fulfill their dreams?

The songs are pleasant enough and carry the plot along nicely with some clever lyrics.  Brian Hargrove has written the very funny book and lyrics with Barbara Anselmi coming up with the concept and music.  Mr. Hargrove and Mr. David Hyde Pierce are a couple in real life and they are very in tune with each other in this theatrical coupling.  They seem to bring out the best in each other.

The impeccably cast actors are all first rate comics and comediennes.  IT SHOULDA BEEN YOU is a master class in comic timing and should you be in the mood for non-stop laughter and farcical proceedings I suggest you see this little Broadway musical that could.

The surprises in store for you are not only amusing but are emotionally heartfelt – dealing with sexual identity and self-esteem.  What is truly important in order to be happy with one’s-self.

As the planned wedding disintegrates more and more Albert, the irresistible Hibbert, states that he is glad that he didn’t call in sick that day to witness first hand all that is happening.  Don’t call in sick – see this lovely wedding deception.  At the Brooks Atkinson Theatre.

www.itshouldabeenyou.com

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Photos: Joan Marcus

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