Oscar E Moore

All hail Harvey and what he stands for.  All hail all 6 foot 3 and a half inches of his white fuzzy frame that is invisible to the naked eye but can be seen by those who believe.  All hail Elwood P. Dowd (Jim Parsons) and his simple yet effective, down-played, amusing performance in the revival of the Pulitzer Prize-winning comedy HARVEY at Studio 54, a Roundabout Theatre Company production in association with Don Gregory.

All hail his manners and his being kind and pleasant and having hope for the human race and Mary Chase who concocted this fantasy circa 1944 with a timeless message that emerges from its otherwise farcical plot.

All hail Jessica Hecht as his sister Veta Louise Simmons who is trying to get her daughter Myrtle Mae (Tracee Chimo) a beau and her brother inducted into the local loony bin having some truly brilliant and hysterical moments with her explanation of how her brother Elwood (Straight man Parsons to Hecht’s insanely comic character) should be committed to Chumley’s Rest as he and his rabbit friend Harvey are interfering with her living a normal life.  The result is that she is the one who appears nuts and is incarcerated.   Eccentricity runs in the family.

What is normal?  We wonder by plays end and that is a very good thing.  Sometimes we all need a “pooka” in our lives.  An imaginary, mischievous creature/friend to help us through the day.  A hi-ball or a beer (Dowd we are told repeatedly likes to drink but we never see him imbibe) is necessary as long as it’s done in moderation – whatever it takes to make you happy and kind and polite and functional in this most difficult world we live in.

The mild mannered Dowd makes friends easily even with those trying to commit him.  He brings roses to Ruth Kelly R.N. (Holley Fain) who is not being treated very nicely by Dr. Sanderson (Morgan Spector) – assistant to Dr. Chumley (Charles Kimbrough) whose wife Betty (a zany Carol Kane) he also befriends.

But it is Harvey who is front and center and sometimes seen and sometimes not.  Is he a figment of Dowd’s imagination or does he really exist?  Mary Chase is very clever in how she has all the characters deal with this conundrum resulting in a comedy of errors and lots of laughs. 

But the play itself has its ups and downs despite the strong cast and overall fine direction by Scott Ellis who goes a bit too far with some playful touching back and forth that becomes irritating. 

David Rockwell has provided two wonderful homes for Harvey: the library where Dowd and his sister and niece live and Chumley’s Rest where they want him to live.  Harvey grows on you.  What seems so silly becomes moving and meaningful in this one extremely eventful day in the lives of Elwood P. Dowd and his best friend Harvey.

www.roundabouttheatre.org  Photo:  Joan Marcus

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There are many stars shining ever so brightly at the York Theatre where their revival of the cult Off-Broadway 1989 musical hit CLOSER THAN EVER by David Shire (music) and Richard Maltby, Jr. (lyrics) who also has directed is being given a terrific sounding and sleek looking production that is fresher and more pertinent than ever.

With a collection of twenty four catchy tunes that have smart and true to life lyrics Jenn Colella, George Dvorsky, Christine Noll and Sal Viviano portray a variety of characters that share their mid life adjustments with us.  Songs about marriage, and fathers, and divorce, dating, second chances, babies and that tried and true subject – love.

Each song tells a story.  It’s an actor’s dream come true to portray the many characters and their nuances with such specific lyrics – that have unexpected twists while being clever and comical and sometimes extremely moving.

The unadorned strong natural voices of the perfect foursome (nary a head wire to be found and totally unnecessary here) blend beautifully in the many smartly staged numbers (Associate Direction & Choreography by Kurt Stamm).

Solos, duets, trios and quartets keep the show moving briskly along.  The pacing is spot on.  Simplicity is the key word here.  A few costume changes, a few props, a grand piano (an amazing Andrew Garble) and bass/guitar (personality plus Danny Weller) terrific arrangements and super vocal technique on a beautifully designed blue set by James Morgan featuring six white doors make CLOSE THAN EVER the ultimate staycation destination for all New Yorkers and tourists alike.

Jenn Colella, pert and spunky gets to exhibit her comic skills with “Miss Byrd” and “Back on Base” – where accompanied by Danny Weller on his bass with his nimble fingering, just about stop the show.

“Fathers of Fathers” featuring George, Sal and pianist Andrew (who has a fine voice and makes his piano sound like a full orchestra) is breathtaking.

With his clear as a bell tenor, Sal has a fun time with “One of the Good Guys” and Christine Noll and Jinn’s duet of “It’s Never That Easy/”I’ve Been Here Before” is the best example of having the “wow factor”.

The Act I finale is fantastic and that would have been enough and yet the second act breezes by effortlessly, entertaining us with the more serious side of Maltby & Shire.  CLOSER THAN EVER is simply great.  Go.  Immediately.  Limited run through July 14^th.

www.yorktheatre.org   Photos:  Carol Rosegg

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As missed opportunities go this one is as colossal as Alexandre Dumas’ epic romantic tale of revenge, The Count of Monte Cristo, on which this new musical written by James Behr is based and being performed at 45 Bleecker Street as part of Planet Connections Festivity with a cast of sixteen and a pre-recorded computer/keyboard sound track which sounds like a full orchestra accompanying the cast.

The cast is the production’s biggest problem.  Many, especially the lead Edmond Dantes (Brandon Contreras) are miscast and cannot do justice to the very melodic score that James Behr has provided.  Projection is not their strong point.  Many words are barely audible.  There is no amplification, which I prefer.  However, young actors are relying on amplification far too much now and when it is not provided the audience cannot hear.  When you cannot hear you lose interest.

And when your Edmond Dantes lacks charisma and a strong ability to act and sing, The Count of Monte Cristo suffers.   The score is full of beautiful, romantic, sweeping melodies, the book has a clear structure that includes humor but co-directors Grant Kretchik and Jamibeth Margolis can only do so much with the limited talents provided by the cast, which is very unfortunate.

However, Pallavi Sastry as Haydee makes a strong impression with “Share It All With Me” in Act II.

With a much stronger cast Mr. Behr’s The Count of Monte Cristo has great potential and I wish them all the best for future productions.  Standout songs include “I’ll be Waiting for You”  “Just Like This”  “Oh, What a Wedding” and the memorable “How I Love Her.”

I’ve always thought this novel would make a great musical.  One day it will.

www.CountOfMonteCristoMusical.org

StarlightArtists@aol.com

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The Martha Gellhorn and Virginia Cowles autobiographical, satirical and downright old fashioned three act comedy Love Goes to Press may have been written in 1944 but it was light years ahead of its time in its depiction of two independent, savvy and attractive women who went into a “den of men” in worn torn Poggibonsi Italy to report first hand on the goings on from the front line while depicting the guys involved with razor sharp wit as to their male chauvinistic bearings.

Throughout the play we see how the “men” treat the “women” – “War is no place for a woman” – “We’re reporting a war; not a gossip column.”  And in Act III you will be heartened by the vocal reactions of the audience when Public Relations Officer Major Philip Brooke-Jervaux (a grounded and wonderful Bradford Cover) who has fallen rather quickly in love with his nemesis Janet Mason (Angela Pierce) describes what he believes will be her idyllic life living in England with his mom and sister.  When he says, “You’re mine now.” one truly believes that the audience will storm the stage as he expects Jane to give up her writing career for cows.  She instantly goes from independent to coy to being rightly horrified.

The Mint Theatre has a knack for finding the obscure and giving those plays excellent productions.  Love Goes to Press is no exception.  The production values are high and the acting uniformly good.  Although director Jerry Ruiz gets a bit heavy handed with light and sound cues (shells being exploded, lights being dimmed and some atmospheric music) when Annabelle Jones (Heidi Armbruster) relives a romantic past with her ex Joe Rogers – loosely based on Gellhorn’s marriage to Ernest Hemingway (Rob Breckenridge).

Writing for competing papers in San Francisco Joe has a nasty habit of stealing his beloved’s stories and drinking a lot. In fact, most of them have a flask or two hidden away somewhere.  After all it’s cold and lonely at the front.

Joe is now involved with and English actress – Daphne Rutherford – the third Jill in a jeep.  Margot White is delightful as she take full command of the stage with her winning sing song portrayal – a woman more concerned with a chipped nail being re-polished than with war itself, that is until she is mistakenly taken to the front lines instead of Jane returning triumphantly waving her American flag and praising all the soldiers.  She’s a standout in this excellent company of actors and has the quickest offstage bath ever.

Also to be commended are David Graham Jones as Leonard Lightfoot a true Englishman who stories are lifted from his typewriter by Tex Crowder (Jay Patterson) and Hank O’Reilly (Curzon Dobell).  Corporal Cramp (another well grounded performance – Ned Noyes) supports his boss Major Jervaux ably.  Thomas Matthew Kelley as Major Dick Hawkins is naively infatuated with Annabelle and Captain Sir Alastair Drake (Peter Cormican) is responsible for the Jane/Daphne mix-up leading to almost farcical happenings.

Perfect period costumes (Andrea Varga) and set (Steven C. Kemp) and props (Joshua Yocum) make for a very pleasant and sharp look into the lives of women reporters during the war and their dedication and persistence in achieving their goals.

www.minttheater.org   Photos:  Richard Termine

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Lameece Issaq & Haaz Sleiman

The New York Theatre Workshop’s stage has been transformed into a Palestinian home complete with working kitchen where Fadwa Faranesh (a remarkable Lameece Issaq) holds court preparing for the upcoming nuptials of her younger sister Dalal (Maha Chehlaoui) to the charming and always hungry groom-to-be Emir Azzam (Arian Moayed) whom I last saw in Marco Millions (based on lies).  I was impressed with his skills then and they have only gotten better.

Ms. Issaq has co-written this new, delicate and universal two act drama, FOOD and FADWA – spiced up with lots of comedic overtones with Jacob Kader.  It is a co-production of NOOR THEATRE whose intent is to develop and present the work of theatre artists of Middle Eastern descent.  It’s quite an impressive beginning.

As you enter the theatre, the neat and organized Fadwa (Ms. Issaq) is cooking and the odors of mixed spices, olive oil and eggplant permeate the air.  It smells delicious.  The writing, as it turns out, is also very savory. 

What makes FOOD and FADWA special is that it convincingly introduces us to another culture and customs mingled with circumstances that are readily familiar to us.  Only here, they have to prepare for a wedding dealing with border patrols, inspections, curfews and bullets.

Arriving from America is Emir’s brother Youssif (Haaz Sleiman) and Fadwa’s cousin Hayat Johnson (Heather Raffo).  Both have become Americanized.  Youssif runs a restaurant in New York and Hayat has become rather famous as a chef by tinkering with family recipes – winning the James Beard Award and having an article in O – Oprah’s magazine. 

Fadwa is a purist with her family recipes and resents the fact that Hayat has taken these recipes and made them her own and has also taken away Youssif from her – stealing his affection if not his heart.

The comic Aunt Samia (Kathryn Kates) smokes a lot while speaking on her cell phone, concerned mostly with “Arab Idol” and who has been eliminated but contributes song and dance in a wonderful bachelor party sequence. 

Her brother Baba (Laith Nakli) is suffering from dementia and is cared for by his daughter Fadwa.  His love of the olive tree and all that it represents is very touching as we see him with all his faculties intact in flashback.

Fadwa’s way of coping with the stress of her family is cooking and fantasizing that she is the host of her very own cooking show – covering a wedding, fasting, rationing, moving on and death – as she speaks to us, her audience, inviting us into her kitchen and into her heart. 

One of the highlights of the play has Emir explaining the different areas in Palestine with the use of hummus, rice, a torn up napkin and a piece of chicken as he makes a mess of the dinner table.

FOOD and FADWA is a slow cooked, gastronomic and heartwarming journey that will leave you completely content.  It is directed with panache by Shana Gold who has managed to mix all the ingredients together to come up with an extremely satisfying production.

www.nytw.org        Through June 24th   PHOTO:  Joan Marcus

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Two funny chaps from London – Daniel Clarkson (the tall one) and Jefferson Turner (the other) have taken on the monumental challenge of presenting all seven Harry Potter novels in a seventy minute children’s show for all ages at the unlucky Little Shubert Theatre subtitled – “The Unauthorized Harry Experience A Parody by Dan and Jeff.”

Perhaps the hex that hovers in the wings of The Little Shubert has finally been chased away with Harry’s magic wand and collection of wigs and puppets and speed speaking that consolidates the massive outpouring of J. K. Rowling’s words and three hundred characters that make up the series.

Dan is Harry.  And the Snitch.  Jeff all the others – concentrating on Ron, Voldemort, Snape, the snake, the House Elf, Dumbledore, Draco Malfoy, Hagrid et al – and the Dragon with a very active red tongue from Book four that Jeff has spent most of the budget on.

Potted Potter uses the seven Harry Potter books as its hook – a veritable springboard to display the cleverness and schtick of Dan and Jeff who are at odds with one another from the get go. You need not know the books to enjoy the slapstick antics of these two comics.  In fact Jeff hasn’t read number seven and gives us updates during the seventy odd minutes that the show runs.

Akin to another larger show on Broadway – One Man, Two Guvnors – Potted Potter is lots of silly improvisational fun, particularly for the kids.  Some of the lines might fly high over their heads but if they are lucky enough to be chosen to join Dan & Jeff on stage in the highlight of the show – a Quidditch Match – it will be well worth the entrance fee.

Dividing the audience into the opposing teams – the good Gryffindor and the evil Slytherin and using a transparent plastic globe beach ball that bounces back and forth with audience members vying to become part of the action while the on stage young volunteers look for, finally find and chase the Golden Snitch is a hoot and hard to top.

References to Broadway shows (War Horse, Mary Poppins, Wicked and Shrek) add to the frivolity as well as the odd props and speedy patter, amusing projections and magical lighting effects make Potted Potter’s Cliffs Notes Off-Broadway version of Rowling’s series rapid fire fun.

It may not be what you expect but the unexpected pays off with lots of laughs.  Mayhem, courtesy of director Richard Hurst.

Through August 12^th.  www.PottedPotter.com   Photo:  Carol Rosegg

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How best to encourage you to see The Roundabout Theatre Company’s imperfect but likable production of Simon Gray’s 1984 play THE COMMON PURSUIT?  “Let me count the ways” would seem appropriate as Mr. Gray’s lofty, idealistic and sometimes long-winded play deals with poetry or rather the publication of a new magazine “The Common Pursuit” featuring poems with lofty and elitist intentions by a group of Cambridge chums.

These retro “friends” have their own sit-com going on here with enough plot twists and revelations to fill a season full of episodes with real laughs as opposed to a superimposed laugh track following our idealistic comrades over a period of twenty years. 

We have Stuart Thorne (Josh Cooke making a really decent and impressive New York stage debut) whose main desire is to create this new magazine of poetry, that is after having a quickie with his beloved Marigold Watson (Kristen Bush – appearing as a level headed full on supporter somewhat like a young Emma Thompson who is the only cast member to mature through the years with the help of hair styles and clothing).

The nervous, cat loving Martin Musgrove (Jacob Fishel showing great empathy in Act II) just happens to be rich and has no talent as a writer but has the smarts and the money to start up the project.

An excellent Tim McGeever as the “philosophical poet” Humphry Taylor who has an above everyone else sort of attitude with dry and wry humor has come to retrieve his work as he no longer deems it worthwhile for publication.

There is the womanizing Peter Whetworth “Captain Marvel” (Kieran Campion filling those shoes admirably) as he uses his friends as alibis to run around with an assortment of women while eventually marrying the “ghastly” Erica, having four kids and then falling in love with Jane or was it Joan?  I’d love to meet Erica.

Finally we have the over the top comic Nick Finchling (Lucas Near-Verbrugghe)  a disheveled, chain smoking drunk who coughs and acts as though he were Black Stash in Peter and the Starcatcher.

Did I mention that they are all ultra intelligent and bent on showing us that they are?

THE COMMON PURSUIT is ultimately about choices.  Choices that we all have to make.  Life doesn’t play out as we planned and we have to adapt and adjust and choose which path to follow.  Writing for art or for profit.  Keeping the dream or dropping it.  Be an elitist or be successful.  Cambridge vs. Oxford.  Vivaldi vs. Bach.  All interesting stuff nicely directed by Moises Kaufman on another superb set by Derek McLane. 

Through July 29^th – Roundabout at Laura Pels Theatre Harold and Miriam Steinberg Center for Theatre.  www.roundabouttheatre.org        PHOTO:  Joan Marcus

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I heeded my own advice from my original review and saw Peter for the second time last evening, Friday May 4^th, after being transferred from the Off-Broadway New York Theater Workshop where “Once”, that enchanting musical, also began.

With its gorgeous red Victorian curtain and decorative proscenium topped with a golden pineapple – which blends perfectly with the décor of the Brooks Atkinson, Peter and The Starcatcher is even better.  There is no end to its creativity, ingenuity, wit and total theatricality.

The two and a half hours fly by faster than the speed of Tinker Bell.  The ensemble work of the cast is exemplary headed by that master of comedy Mr. Christian Borle as Black Stache – Captain Hook, if you please.  When Stache accidentally cuts his right hand off in Act II, what follows is pure comic genius at work.  Borle never ceases to amaze in his ability to make his comedy so real and of the moment.  The scene is priceless and destined to be remembered as a classic come Tony Award time.

The show is tighter and funnier with everyone have a rollickingly good time.  There are two new members to the cast – Rick Holmes as Lord Aster and Isaiah Johnson as Captain Scott.  They have seamlessly joined in with the original members to make Peter and the Starcatcher a memorable experience for children of all ages.

In my original review (March 10^th, 2011) – which follows I didn’t mention Peter’s pals, both of whom are excellent – Carson Elrod (Prentiss) and the always hungry Ted (David Rossmer).  And how could I ever have omitted the fantastic lightning design by Jeff Croiter?  www.peterandthestarcatcher.com

Peter and the Starcatcher – Peter Pan prequel at New York Theatre Workshop

Oscar E. Moore “from the rear mezzanine” for Talk Entertainment.com

The big question isn’t how an orphan boy in Victorian London who hated adults and didn’t want to grow up came to be Peter Pan, it’s will you have a frolicking fun time finding out?   The answer is a resounding yes.

Three immensely imaginative men Rick Elise (text), Roger Rees (Director) and Alex Timbers (Director) have put their collective creative heads together, pooled their most basic of resources and have fashioned a frenetic, fast paced, witty play with music (Wayne Barker) for adults over the age of eight called “Peter and the Starcatcher” based on the novel by Dave Barry and Ridley Pearson – Peter and the Starcatchers.

It’s a little bit of Nicholas Nickleby that starred Mr. Rees, a little bit Bloody Bloody Andrew Jackson – which Mr. Timbers brought to life with an English Music Hall, fractured fairy tale, frat boys will be boy’s sensibility that could very well be called “A Tale of Two Trunks” – where alliteration abounds and astounds.  You’ll want to see it twice, at least, to catch every single joke both aural and visual.  The use of nautical rope, aluminum steamers and a yellow rubber glove tweak our imagination.

The text by Mr. Elise is delicious.  Chock full of jokes and puns, made up words (Norse Code – nonversation) and off the wall characters that bring to mind Lewis Carroll and the Marx Brothers.

Some trimming of the first act which sets up beautifully the second might make the show a bit tighter.  It is in Act II that all the elements come into play and pay off and we see the development of Peter (a fine Adam Chanler-Berat) and his relationship/rivalry with the strong-willed Molly (Celia Keenan Bolger) blossom and his coming to terms with his nemesis Black Stache (an incredible Christian Borle).

Christian Borle.  What an amazing, maniacal, comedic performance. With his painted on mustache, rubbery body and perfect timing one cannot get enough of him as the “ruthless, heartless, peerless and a bit Nancy” Stache.  He’s pure genius.

Correcting his every misused word is Smee (a delightful Kevin Del Aguila).   Lord Aster (Karl Kenzler) Molly’s dad tries to keep the trunk containing the magical star substance out of the hands of Stache and his fellow pirates.  They eventually all wind up on some Mollusk Isle after being shipwrecked where fish have become mermaids after being exposed to the magical star stuff.  They wear some of the most incredibly clever costumes ever seen by Paloma Young.

Molly’s nanny, Mrs. Bumbrake, is portrayed by the irresistible Arnie Burton who has a fling with one funny pirate named Alf (Greg Hildreth).  As Captain Scott, Brandon Dirden garners our full attention.

All the frenzy and clever quips resolve in a most heartwarming and tender ending.  It’s an incredible “shiver me timbers” adventure.   www.NYTW.org

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Get ready for your close up.  It’s show time!  At the revival meeting that is being held at the St. James Theatre called “Leap of Faith” an on stage security guy with hand held video cam films the audience “live” – while it is shown on video screens – as to put us all in a “You Are There” moment, preparing for the entrance of Jonas Nightingale (an energetic and strangely cold Raul Esparza), the con man evangelist and fraudulent faith healer who will be delivering the voice of God messages to all us sinners in rousing gospel songs (Alan Menken – music & Glenn Slater – lyrics) and not so rousing dance (Sergio Trujillo).

It’s gimmicky and hokey.  To make matters worse, cast members try to get us to raise our arms in “Hallelujah” ecstasy while distributing fake dollars to drop into the basket that the fake Nightingale passes around for donations.  I wish director Christopher Ashley had just told the Elmer Gantry meets The Music Man story in a straightforward manner.

Will the charlatan Nightingale who tricks the townspeople into believing in miracles while bilking them of their hard earned cash with the help of his shyster sister Sam (Kendra Kassebaum) finally find the miracle in his own life to make him a true believer?

Will Jake McGowan (a poised and honest Talon Ackerman) the son of the Sheriff – Marla McGowan (Jessica Phillips) who sees right through Nightingale but nevertheless falls for his charm and right into his bed walk again after he became wheel chair bound and guilt ridden over the car accident that killed his dad three years ago?

Will the drought be lifted by a miracle torrential rain storm?  

All these questions and more will be somewhat answered if you care to sit through “Leap of Faith” which features some fine gospel singing (“Rise Up” & “Step Into the Light”) by Ida Mae Sturdevant (Kecia Lewis-Evans) head bookkeeper and her daughter Ornella (Krystal Joy Brown) and the Angels of Mercy choir.

Isaiah (Leslie Odom, Jr.) her Bible College son tries to be an honest man of God and has the sweetest most beautiful voice on stage.  His heavenly “Walking Like Daddy” is a nice respite from the otherwise forgettable score.

Stranded with no funds to pay his Angels of Mercy and straddled with a broken down bus Jonas decides to set up shop, actually his tent which doth riseth and turneth on stage before our eyes (Robin Wagner) and couldn’t possibly fit into the bus when disassembled hoping to make enough money with his sermons and songs and then skedaddle.

But Jonas meets Sheriff Marla and her son Jake who knows some magic tricks but not as many as Jonas who with all his “smoke and mirrors” act (and disco ball jacket – William Ivey Long) attempting to make the miracles happen that everyone is waiting for.  Especially for Jake, who truly believes that Jonas will heal him, enabling him to walk.

Based on the 1992 motion picture starring Steve Martin and written by Janus Cercone who together with Warren Leight is responsible for the awkward book, “Leap of Faith” is just too hard to believe. 

www.leapoffaithbroadway.com   Photo:  Joan Marcus

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It takes a village, sometimes an entire universe, to put all the pieces of that puzzle called a Broadway musical together to come up with a completely satisfying and entertaining production.  The creators of NICE WORK IF YOU AN GET IT – a sweetheart of a musical – succeed for the most part.  Under the direction of Kathleen Marshall who is also responsible for some nifty choreography they have created an original, traditional musical comedy with all the trimmings that is true to the period and up to date with some surprisingly spot on timeless political observations.  It’s frivolous, frothy and fun.

When you begin with the memorable syncopated music of George Gershwin and the clever lyrics of his brother Ira no one could ask for a finer foundation with which to build upon.  But then you need a good book.  Paging Joe DiPietro.  Luckily they did.  Mr. DiPietro’s book – which has been inspired by material by Guy Bolton and P.G. Woodhouse, has captured just the right tone for the period.  1927.  His unexpected, out of left field, quirky sense of humor is most welcome and is delivered with perfect timing from the cast – particularly the supporting players.

As they said of Ziegfeld- “no expense has been spared” with the physical production. The costumes by Martin Pakledinaz are tasteful and gorgeous and just plain ‘S Wonderful.  I couldn’t resist.  A wedding gown train, of course there is a wedding – is just about as long as the Nile.  Just one of the many sight gags that Ms. Marshall has pulled out of her clever theatrical hat of tricks.

Derek McLane has created some ravishing sets that are beautifully lit by Peter Kaczorowski.

The story line is typically silly.  But played straight and so it works.  Rich, good looking but not the brightest banana in the bunch,  playboy Jimmy Winter (Matthew Broderick) is about to be married for the fourth time to Eileen Evergreen (Jennifer Laura Thompson) the famous modern dancer and daughter of Senator Max Evergreen (Terry Beaver).   The previous evening, at a Speakeasy, a drunken Jimmy meets up with bootlegger Billie Bendix (Kelli O’Hara).  And guess what?  They connect…

 Let’s stop right here.  Mr. Broderick although charming delivers his lines in an off handed manner verging on dull and appears to be a playboy gone to paunch – a little too old to continue his little boy pout business.  His light singing voice works well for the period – a cross between Astaire and Rudy Vallee.  He whistles and plays the uke.  And dances adequately.  His partnering of O’Hara in ‘S Wonderful is just that.  Kelli O’Hara tries her best to be tough as the bootlegger but reverts to her naturally gorgeous voice when crooning.  That being said they both are pleasurable if not perfectly cast.

Now for the really good stuff.   Michael McGrath (McGee) and Chris Sullivan (Mahoney) cohorts of Billie are tremendously amusing as they hide the hooch in Jimmy’s summer mansion’s cellar out on Long Island where the ensuing mix-ups, revelations and falling for someone unforeseen takes place.  Mahoney whose first name is Duke attracts Jeannie Muldoon (Robyn Hurder) who thinks she could one day be Queen of England.  Their “Blah Blah Blah” duet is a hoot.  But it is Michael McGrath who practically walks away with the show.

Judy Kaye, the straight as an arrow Duchess Dulworth is delicious as a temperance fanatic.  When McGee spikes her lemonade and she literally swings into things she’s madcap fun at its best.

Chief Berry, a personable Stanley Wayne Mathis, makes a trio out of the duet “Let’s Call the Whole Thing Off” as he mediates between Billie and Jimmy.  It’s a refreshing look at the old standard in its new context.

Jimmy’s mother Millicent (Estelle Parsons) makes a late entrance in Act II and the wait is well worth it as she ties up loose ends and makes for the celebratory happy ending that allows the audience to leave the very uncomfortable Imperial Theatre with stiff knees and a big smile while humming some of the great tunes by the brothers Gershwin.  Nice work.

www.niceworkonbroadway.com   Photos:  Joan Marcus

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