Tootsie

B+

The tag line in the ads for the Broadway adaptation of this 1982 film is “The Comedy Musical.” The inversion of the usual term is apt, because this is one of the few musicals more likely to be remembered for its savvy book by Robert Horn (13 The Musical, “Designing Women”) than for its competent, but not stellar, score by David Yazbek (The Band’s Visit, The Full Monty). It’s not that the score is bad — Yazbek displays his usual facility for matching song to character and his lyrics are often clever — but there are no songs that jump out as something you are likely to want to hear again very soon. The book, on the other hand, very cleverly updates the basic story to the age of #MeToo, successfully changes the setting from the world of soap operas to the Broadway stage, and regularly provides a barrel of laughs. The strong book is matched by a superb cast and first-rate production values. Santino Fontana (Cinderella, Sons of the Prophet) deftly negotiates the dual role of Michael Dorsey/Dorothy Michaels, singing well in both ranges. Lilli Cooper (SpongeBob SquarePants, Spring Awakening) is lovely as Julie Nichols, Dorothy’s co-star and Michael’s love interest. Sarah Stiles (Hand to God, On a Clear Day…) pulls out all the stops as Michael’s neurotic former girlfriend Sandy Lester and Andy Grotelueschen (Cyrano de Bergerac, Into the Woods) is droll as Michael’s roommate Jeff Slater. John Behlmann (Significant Other, Journey’s End) is a riot as the buff but dim Max Van Horn who takes a shine to Dorothy. The always enjoyable Julie Halston (On the Town, Hairspray) scores as the wealthy producer Rita Marshall, who promotes Dorothy’s rise. Michael McGrath (The Front Page, She Loves Me) makes the most of the small but important role of Stan Fields, Michael’s agent. Reg Rogers (The Royal Family, Holiday) is wonderful as Ron Carlisle, the director who has blackballed Michael but is forced to work with Dorothy. The choreography by Denis Jones (Holiday Inn, Honeymoon in Vegas) is lively with a memorable faux-Fosse number that we gratefully get to see a second time during the curtain call. David Rockwell’s (Kiss Me Kate!, She Loves Me) attractive, flexible sets are beautifully lit by Donald Holder (The Lion King) and William Ivey Long’s (Prince of Broadway, It Shoulda Been You) costumes are marvelous. Scott Ellis (She Loves Me, On the 20th Century) directs with aplomb. The implausible progression from the awful show “Juliet’s Curse” to the hit “Juliet’s Nurse” is fun to watch. There is so much to admire that one regrets that the score is not up to the high level of everything else. Nevertheless, it offers a very entertaining evening with far more laughs than you can expect from today’s typical musical. Running time: two hours 35 minutes including intermission.

The Government Inspector

B+

Red Bull Theater is presenting Jeffrey Hatcher’s clever adaptation of Nikolai Gogol’s 1836 comic masterpiece about corruption in a provincial Russian town. One of the strengths of the play is that it is simultaneously deeply Russian and universal. Hatcher has wisely decided not to update it or deemphasize its Russianness. He lets the audience find their own similarities to our times. This production’s biggest plus is the casting of Michael Urie (Buyer and Cellar, TV’s Ugly Betty) as Hlestakov, the wastrel who is mistaken for the visiting inspector. He demonstrates a previously unseen talent for physical comedy that is prodigious. As the mayor, Michael McGrath channels his inner Nathan Lane to our delight. Mary Testa is a hoot as the mayor’s wife. Arnie Burton chews the scenery as the postmaster and is droll as Hlestakhov’s servant Osip. Most of the other ten actors (Stephen DeRosa, Ryan Garbayo, Kelly Hutchinson, David Manis, Ben Mehl, Talent Monohon, Luis Moreno, James Rana, Tom Alan Robbins, Mary Lou Rosato) create vivid characters and work well as an ensemble. At two hours, the comedy wears a little thin. Alexis Distler’s set design is problematic. While the sets for each of the play’s three locations are effective, presenting them as a bilevel unit seems to be an inelegant and unnecessary solution. I advise against sitting in the first two rows, because you might get a stiff neck from looking up at the set’s upper level, where the last 3/4 of the action takes place. Tilly Grimes’s period costumes are wonderful. Red Bull’s artistic director Jesse Berger keeps things moving fluidly. If you enjoy farce and slapstick, well-performed, you will have an enjoyable time. Running time: two hours including intermission.

On the Twentieth Century ****

Roundabout Theatre is presenting the first Broadway revival of this 1978 show with music by Cy Coleman and book and lyrics by Betty Comden and Adolph Green. Based on the 1932 play by Ben Hecht and Charles MacArthur, this screwball comedy with music takes us back to the glory days of rail travel. The lavish art deco set by David Rockwell and glamorous costumes by William Ivey Long establish the perfect mood, which is enhanced by the stylized movement of Warren Carlyle’s choreography and the assured direction of Scott Ellis.  The lead characters are Oscar Jaffee (the adequate Peter Gallagher), a down-but-not-out producer, and Lily Garland (the incomparable Kristin Chenoweth), his former lover and muse who has left him and the theater for Hollywood stardom. Jaffee hopes to use the 16-hour train trip from Chicago to New York to sign Garland for a new show to revive his career. Mark Linn-Baker and Michael McGrath are amusing as Jaffee’s loyal aides. Mary Louise Wilson is a hoot as Letitia Peabody Primrose, a dotty, wealthy woman with a checkbook who might bankroll Jaffee. As Lily’s more brawny than brainy boy toy Bruce Granit, Andy Karl almost steals the show. The four porters who tap their way through the show are delightful. It’s all so stylish and entertaining that you might wonder why it took over 35 years to revive the show. One reason is the extreme vocal demands of the operetta-tinged score which require someone of Chenoweth’s rare talents. It’s good to have her back on Broadway. Another possible explanation is that the music, which works well within the framework of the show, lacks any songs that you are likely to leave the theater humming. Running time: 2 hours 30 minutes including intermission.

Nice Work If You Can Get It ****

(Please click on the title to see the full review.)
I am baffled by the middling to negative reviews this Gershwin musical has received, because I thought it 's wonderful. Joe DiPietro's tongue-in-cheek book cleverly blends about 20 Gershwin songs into a delightfully absurd plot loosely based on Oh Kay! The almost uniformly excellent cast (more about that later), stunning sets by Derek McLane, gorgeous costumes by Martin Pakledinaz, lush orchestrations by Bill Elliott and endlessly inventive choreography by Kathleen Marshall, who also directed, offer a lot to enjoy. Kelli O'Hara is marvelous as singer, dancer and comedienne. Michael McGrath stands out among a strong supporting cast that includes Judy Kaye and Estelle Parsons. The only weak link is Matthew Broderick; his singing and dancing are competent, but his signature nebbishy persona has lost its charm for me. I guess his name still sells tickets. With a stronger male lead, the show would be an unqualified success. As it is, it still provides a most pleasant evening. Running time: 2 hours, 40 minutes including intermission.