When Carl Reiner’s semi-autobiographical novel was adapted for the stage by Joseph Stein in 1963, it ran for a year. Stein (Fiddler on the Roof) also wrote the book when the play was turned into a musical in 1976 with music and lyrics by Stan Daniels (Same Time Next Year) under the title So Long, 174th Street. Surprisingly, the musical flopped, closing after only 16 performances. Fortunately York Theatre Company revived it with a new title and some additional material by Stuart Ross (Forever Plaid) in a production that was such a hit they revived it twice more. The current production, their fourth, kicks off York’s 50th anniversary season with a bang. As with many York musicals, it makes up for very modest production values with lots of enthusiasm, flair, and excellent casting. As David Kolowitz, Chris Dwan (The Old Boy) is hilarious. His version of the title scene had me laughing so hard I thought I would injure myself. David Schramm (Other People’s Money), looking like late Orson Welles, is perfection as Marlowe, the head of the theater company, and Farah Alvin (It Shoulda Been You) is wonderful as his amorous daughter Angela. Dana Costello (Finding Neverland) and Allie Trimm (13: The Musical) are fine as Miss B and Wanda respectively, the other two women in David’s life. Alison Fraser (The Secret Garden) and Robert Picardo (Gemini) are fine as David’s parents, as are Ray DeMattis (Little Shop of Horrors) as his boss and Joe Veale (Altar Boys) as his pal Marvin. As Pike, Marlowe’s assistant, Raji Ahsan (My Heart Is in the East) moves props with balletic grace. The actor playing the small role of Harry Hamburger is listed as Magnes Jarmo, which turns out to be an anagram for James Morgan, York’s artistic director. Jennifer Paulson-Lee (You’re a Good Man, Charlie Brown) manages to create some clever dance numbers that fit York’s tiny stage. The set, by Morgan, makes good use of vintage commercial signs to suggest The Bronx in the 1930s. The period costumes by Tyler M. Holland (Christmas in Hell) are a visual treat. Stuart Ross’s direction rarely lets the pace flag. The trio of piano, bass and drums is fine for the relatively small York space. Some of the songs are quite clever; I especially liked “It’s Like,” “Boy, Oh Boy” and “The Butler’s Song.” If you are looking for an enjoyable escape from the world’s cares, you will find it here. Running time: two hours 25 minutes including intermission.
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