The Fantasticks

 B

After a 42-year run off-Broadway at the Sullivan St. Playhouse that began in 1960, this cult chamber musical with music by Harvey Schmidt and revised book and lyrics by Tom Jones has finally made it to Broadway – with a twist. The two fathers using reverse psychology to unite their son and daughter by dividing them have been replaced by two mothers. Since the mothers are played by Ruthie Ann Miles and Leslie Rodriguez Kritzer, this is cause for celebration. The other switch is that the children they are trying to get together are now their two sons. Matt (Maxim Chlumecky) is a well-grounded 20-year-old.  Lewis (Nathan Levy) -- 16-year-old Louisa in the original – is a dreamy romantic 18-year-old who unfortunately comes across as effeminate. El Gallo (Zack Phillips) is the bandit who narrates the story and is the source of most of the action. The absurd plot involves a fake abduction that El Gallo arranges. As abductors he recruits Mortimer (Kevin del Aguila), an  actor who specialized in dying scenes, and Henry (David Patrick Kelly), an old Shakeperean. The mute (Ahmad Simmons) plays host, a wall and a tap dancer who punctuates the action. The production gets off to a lovely start with a recreation of the stage of the Sullivan St. Playhouse, complete with the piano and harp that supplied the music. A curtain drops to reveal the actual set, and we are introduced to all the characters. The famous “Try To Remember” makes a strong show opener. The first act builds to the abduction scene, which is hilariously staged. It ends with a happy ending and the question of whether it can last. Just as Sondheim did years later in “Into the Woods”, the creators follow a happy first act ending with a second act where things fall apart. In this instance things eventually work out with our young men getting a better grip on reality. The production values are high: Jason Sherwood’s scenic design is clever, and Linda Cho’s costumes are colorful. Jen Schriever’s lighting is fine. The sound design by Nevin Steinberg is exemplary; I could hear every word without over-miking or an over-loud orchestra. Christopher Gatelli’s direction and choreography are admirable. All the acting is good but the standouts for me were Miles, Kritzer, del Aguila, Kelly and Simmons. When I saw the show 50-odd years ago, I didn’t understand why the audience so enthusiastically embraced it. I still don’t, but the audience today applauded wildly from the first moment. I guess I just have a low affinity for whimsy. Running time: two hours 15 minutes, including intermission. NOTE: I find the seats at the Hayes Theater very cramped and the armrests short and narrow.