Tuesday, May 5, 2009

Theater Review: Crazy For You

By John Garcia of John Garcia's The Column

Crazy For You (CFY) was dubbed "the new Gershwin musical" when it debuted on Broadway at the Shubert Theater in February 1992. Mind you of course the Gershwin brothers had already passed away long ago. So how on earth could they compose a whole new musical in the 1990s? Did they use an oracle or soothsayer?

No. What they did was take existing songs from the Gershwin catalogue and molded them around a new book by Ken Ludwig. But the book was largely based on another musical by this brother duo, 1930s' Girl Crazy. From its score they took five songs and integrated other songs from the Gershwin canon to create this "new" musical by Ira & George.

Back in the 1990s many critics and artists in theater groaned and complained that the British had overtaken Broadway with their big, bloated, musicals that relied on massive, elaborate scenery and eye-popping special effects. They pointed their angry fingers at such British fare as CATS, Phantom, Les Miz, and Miss Saigon.

So when CFY came along, it was like a revolution of the Yanks taking back the art form of musical theater to its origins and away from the tea & crumpet clan. CFY was a throwback to those long ago musicals where it had larger than life characters, romance, glitz, and gorgeous gams attached to lovely chorines.

At the 1992 Tony Awards, CFY competed for Best Musical against Falsettos, Jelly's Last Jam, and Five Guys Named Moe (another British import).

From its nine nominations it would win Tonys for Best Musical, Costumes, and choreography. This would be the first win for a young woman who would later become a major force on Broadway, Susan Stroman.

Here's a sweet (yet tragic) backstage story concerning CFY. It was within this very production that Stroman first worked with Director Mike Ockrent. They fell in love during the rehearsal period, later getting married in 1996.

Their next project together was the Broadway flop Big: The Musical. But soon after that they started to work with Mel Brooks on a new project based on one his biggest celluloid hits, The Producers. Ockrent would direct the stage version while Stroman would serve as its choreographer.

Sadly that was not to be; Ockrent was diagnosed with leukemia and tragically would pass away in 1999.

When Stroman won the Tony for choreography in 2000 (just a year after his death) for Contact, she gave a very touching acceptance speech thanking her deceased husband - leaving many in the audience in tears.

I saw at the Shubert in 1992 the Broadway production starring Harry Groener and Jodi Benson. It was enchanting, romantic, and full of belly laughs. The true stars though of the musical were those sparkling gems from the Gershwin music catalogue, the witty book, and the phenomenal choreography by Stroman. I've never seen a choreographer use so many props and pieces of the set to create dance like that. I was ensorcelled by her work.

When the national tour came through Dallas Summer Musicals in 1993, this time around an unknown named Karen Ziemba portrayed "Polly". For me personally I actually enjoyed so much more Ms. Ziemba's performance than Benson's. She had that radiant "it" factor that lit up like fireworks. Ziemba would go on to win a Tony in another Stroman production, Contact.

I've never seen a local production of this sweet confection of a musical (odd that none of the local equity houses have ever produced this). So attending Music Theatre of Denton's production would be my first.

According to the bios of Directors Tyler Donahue & Clay White, this production is the first full musical that either one has ever directed. Both have backgrounds as actors, but for both it is the first time for them to helm a production. The results I must say are quite impressive.

As a first production, they did do many things that worked, with some mistakes that with more experience under their belts will vanish in time.

The problems in the direction was that of its unbalanced pace & comedic staging/delivery. The majority of the evening the pace did glide nicely, but some scenes (especially in the second act) did not just click due to slow, drawn out line delivery, as well as the pick up lines between actors. This is a big, broad comedy that relies heavily on comedic pace and quick, finger snapping delivery. But sometimes there were pockets of dead air where apparently someone on stage dropped the ball of energy.

Some of the blocking and staging in the comedy sequences needed more polish and added layers of comedy. Two examples are the gun battles in the saloon and the dueling "Zanglers". Both scenes require broad, over the top comedy involving pantomime, gymnastics, and lots of physical comedy. Think vaudeville interweaved with Charlie Chaplin and circus tricks.

While Donahue & White did achieve laughs with the staging they created here, I felt they could have taken it several notches up in the comedy staging, blocking, and delivery. But the audience did thoroughly enjoy those two scenes.

Another hindrance for its pace was the clunky scene changes that occurred off and on as the evening progressed. The placement of various set pieces and stair units at times were slow and cumbersome. But with a few more run-thrus, this too should evaporate.

Donahue & White both do a commendable job with the blocking & staging. What really stood out was how they use the entire stage (and beyond). The duo directors incorporated set pieces while in motion to keep the show moving (which most of the time worked like a charm). For one number they had the saloon doors turn around during mid-song to reflect the character going outside. They keep their cast moving and reacting all around the stage, which I found highly enjoyable.

What really stands out from their direction is that you really see on stage two artists who really enjoyed themselves. The creativity within in their direction showed sheer pleasure & delight. Some directors have lost that "light" in some productions I've seen of late. Not here. That freshness and excitement to the material glows warmly & brightly here thanks to the work done by directors Donahue & White. I've always said that the best directors are those who are actors, and these two definitely have proved that here with their talents. I really look forward to see what they do next.

A standing ovation to MTD for bringing in a 15 piece orchestra to bring luxuriant ear candy from that glorious Gershwin score! What a rare treat it is to hear a fully rounded orchestra instead the usual 4 or 5 piece "band" combos that so many current productions tend to do around town. Under the resplendent direction of maestro John Norine, the music created by this superb orchestra would make the Gershwin brothers toast a martini to their exquisite musicianship. Kudos as well to Mr. Norine for wearing a spiffy, elegant tux with tails!

The choreography by Anne Black-Scalf is superlative. This is a major dance show that has a bounty of musical numbers that demand visually exciting choreography, with an emphasis on tap! That's a tall order for any choreographer. But Ms. Schalf rises to the occasion and stunningly succeeds here. She creates an array of original dance that uses the full potential of her cast. The tapping (for the majority of the evening) is all in sync. I especially admired the use of various contagions in several dance numbers. This production contains an assortment of show stopping numbers that Schalf has choreographed with fantastic results. Some of the best include ""Slap that Bass"; "Tonight's the night"; "Stiff Upper Lip", and "I got Rhythm". She did not copy or rely on Stroman's work, but instead created her own choreography. That's talent folks!

Now for the bad news, visually the production just isn't up to par to as how this musical needs to look like. The scenic design is a tad bare and looks unpolished here. Although the design of the multi-level center piece with movable stairs is charming. But the door units and painted flats resembling Deadrock look dull and lifeless. The scenery badly needed an extra pop of color. The costumes were serviceable, but I did miss the fantastic showgirl costumes that are normally used in several numbers. Also it was perplexing that some of the principals stayed in the same costume even though a day had passed on stage. Finally the lighting design is nice, but this show demands an array of colors from the palette. The design could have also used more specials and depth.

Finally, there was a battle between the sound of the orchestra and the body mics that just had a difficult time of finding a seamless balance. At times the orchestra would just overpower the cast's vocals. In one number I just could not hear the vocals at all. At other times the body mics popped, hissed, or simply were not set to full volume.

Directors Donahue & White have that very unique element that makes or breaks directors -- and that is an incisive eye for casting. MTD's Crazy For You cast is a terrific bunch of talented performers that tap up a storm!

The ensemble's energy is invigorating and they dance like a pack of Energizer Bunnies. This ensemble sparkles vividly in many of the show stopping numbers. They tap with dazzling execution with wonderful facial expressions. Vocally they were right on the money, and when it came to the comedy they also excelled.

There were several performers though who stood out from the company due to their effulgent talents:

Whitney West nailed some comic zingers as "Patsy", the cutie pie chorine while Mandy Rausch as "Irene Roth" delivered the right amount of dominating fiancée and saucy sass in her second act solo "Naughty Baby".

Josh Diaz (Mingo); Adam Dubberly (Moose); Alex Rodriguez (Custus); and Branden Melear (Pete) were the adorable scene stealers of the evening. Each of them zeroed in on their characterizations to achieve some of the best laughs of the night. Diaz in particular had some of the funniest facial expressions that just had you giggling. While Rodriguez stood out as the best male dancer in the ensemble. Each time there was a full company number, your eyes would constantly dart back to this very talented dancer due to his animated, highly entertaining dancing.

Another stand out was Kevin McKitterick as "Lank Hawkins", the owner of the only saloon in Deadrock. This is a weak written role on paper, but McKitterick turned this character into a deliciously mean, acrimonious, swaggering redneck. For a solid substratum, McKitterick used his swell facial expressions and comedic delivery to provide a performance the audience wished was on stage more.

Pat Watson portrayed "Bela Zangler", the world famous producer. Watson used his angular body to rack up some wonderful laughs from the audience. But Watson needed more of the boisterous, bigger than life voice & personality that the role demands. Bela takes command of the stage each time he steps onto that stage. Watson seemed a little too reserved and internal. This is a broad, over the top character which I felt Watson lacked. The Russian (or Hungarian) accent that he used slipped in and out, and was difficult at times to understand. However, I will say that Watson was a crowd pleaser that's for sure by the reaction of the audience.

Justin Harmon portrays "Bobby Child" and Rachel Joy Robertson is "Polly Baker", the romantic leads of this classic tale of boy likes girl, girl doesn't, but then does. These two roles have the bulk of the solos, have to dance & tap like crazy (no pun intended), and have comedic chops. If these roles are miscast, then it's a long, interminable evening for the audience. It is here that once again Donahue & White showed their directing talents by casting these two roles perfectly.

Harmon (a handsome fellow who kind of resembles Broadway star Raúl Esparza) dances & taps with so much energy and charm you would think he was the love child of Fred Astaire & Anne Miller. The choreography created for his major dance solos flow effortlessly from Harmon's body & technique. Vocally, he has a melodious tenor voice that sails smoothly on his sturdy vibrato. Some of his best numbers include "Embraceable You" and "They Can't Take That Away from Me."

Harmon achieves resounding laughs though when he has to impersonate "Bela". This talented leading man uses his facial expressions and body to wring out every possible laugh he can from his characterization.

Ms. Robertson is an exquisite beauty with soft, warm brown eyes that would melt the abominable snowman into a gushy puddle of goop. But now listen to her golden, glistening set of vocal pipes. She possesses a euphonious, pure soprano voice that radiates within those Gershwin tunes.

The best solos of the entire evening belong to Robertson when she sings "Someone to Watch over Me" and "But Not for Me". For both classic ballads, she allows her voice to glissade with crystal, clear tones. Ms. Robertson works more magic when she digs deep internally within the lyrics. She touches you with sweet compassion on both ballads. She also has some great fun with the show stopper smash, "I Got Rhythm". Here she belts to the back of the house those big, sustaining notes with outstanding results.

Harmon and Robertson have bewitching chemistry that makes the musical shimmer. They play off each other with equal amounts of romance and conflict. They both stayed focused and centered within their character arc that made the romance that much more believable. And can these two dance! Their various duets of dance and song were just enchanting to watch on stage. Harmon and Robertson are first rate in this production.

Crazy For You is really a big, glitzy, adorable homage to musicals of the past. I'm sure most theater companies avoid putting this in their seasons for fear of all that dancing. Bravo to Music Theatre of Denton for taking up the challenge and scoring a home run in the process.

Even though it has some distractions and design flaws, those don't dampen the blinding talent that illuminates from this talented cast. You have dedicated direction, fabulous musical direction, flawless choreography, and a scintillating, charismatic cast.

Believe me; you won't regret making the drive to Denton to see this production. It's so worth it!

GRADE: B

Crazy For You runs through May 10. Call 940-382-1915 for reservations.

Pegasus News content partner - John Garcia's The Column

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