The Portuguese Kid

C-

This alleged romantic comedy by John Patrick Shanley (Outside Mullingar, Doubt) at Manhattan Theatre Club is about as buoyant as a lead balloon and as original as a Trump joke, of which, alas, there are a few. Jason Alexander (Broadway Bound, Jerome Robbins’ Broadway) plays Barry Dragonetti, a second-rate lawyer in Providence, RI who employs his overbearing mother (Mary Testa; The Government Inspector, Xanadu) as his receptionist. Twice-widowed Atalanta Lagana (Sherie Renee Scott; Dirty Rotten Scoundrels, The Front Page), who has known Barry since she rescued him from a Portuguese mugger when they were teenagers, wants him to sell her house, if they can agree on his commission. Barry has recently married a despondent young beauty Patty (Aimee Carrero; What Rhymes with America) who had been cruelly jilted by her boyfriend Freddie Imbrossi (Pico Alexander; What I Did Last Summer, Punk Rock). Atalanta’s latest boy toy, it turns out, is of course, none other than Freddie. Even the dimmest wit can figure out how this will turn out. That would be fine if the process of getting there were amusing or surprising. It isn’t. There are some funny one-liners, but far fewer hits than misses. Scott was the only one who appeared to be having a good time. The others acted as if they wished they were somewhere else. I know I did. The revolving sets by John Lee Beatty and the costumes by William Ivey Long were up to their usual high standards. I wish I could say the same about the efforts of the playwright, who also directed. If your requirements for mindless entertainment are very modest, they may be met. Running time: one hour 45 minutes; no interimssion.

Shows for Days ***

Douglas Carter Beane’s comedic memoir, now in previews at Lincoln Center Theater’s Mitizi E. Newhouse Theater, recounts the events of the year the playwright turned 15 in a suburb of Reading, Pennsylvania and joined a local community theater where he discovered his place in the world and first experienced sex and unrequited love. His story is not particularly original or well-told and he panders shamelessly to an audience largely composed of gays and Jews.  The second act is a mess with plot developments that are downright implausible. However, if you forget about the plot and sit back to enjoy an almost nonstop series of hilarious one-liners, you will have a very good time. It helps tremendously that the young Beane, known here as Car, is played by the always-appealing Michael Urie (Buyer & Cellar) and that the theater’s artistic director Irene is the iconic Patti LuPone. We also meet Sid, the theater’s lesbian co-founder and manager (a wonderful Dale Soules); Clive, the company’s flamboyantly gay lead actor (a delightful Lance Coadie Williams); Damien, a handsome actor/waiter who is bisexual (Jordan Dean); and Maria, the young actress (Zoë Winters) whose role is notably underwritten. John Lee Beatty’s set combines an open stage with a back wall over-cluttered with props. The costumes by William Ivey Long are a good part of the fun. Jerry Zaks’s direction does not aim for subtlety.  The opportunity to see Urie, LuPone and a fine supporting cast keeping the zingers flying went a long way, at least for me, to overcome the play’s weaknesses. Running time: 2 hours 10 minutes including intermission.

It Shoulda Been You ***

This farcical musical with book and some lyrics by Brian Hargrove and music and concept by Barbara Anselmi has reached Broadway after a successful 2011 run at George St. Playhouse in New Jersey. It raises the question of whether loads of talent and style can overcome a lack of substance and answers it with a definite “maybe.” If for no other reason, we should be grateful that it provides employment for such troupers as Tyne Daly, Harriet Harris, Edward Hibbert and Chip Zien as well as talented younger performers including Lisa Howard, Sierra Boggess and Josh Grisetti. The hoary plot involves the wedding of a Jewish woman and a Catholic man. Both sets of parents are unhappy about the impending marriage and a former boyfriend is determined to stop it. Yes, this field has been plowed many times before, but this time there’s a mildly surprising twist that I won’t reveal here. No cliche escapes. The luxurious hotel set by Anita Louizos is very attractive, as are William Ivey Long’s costumes. David Hyde Pierce shows a real talent for directing. The music, in a variety of styles, is pleasant. The lyrics are wildly uneven. Some are fine, but others are clunkily unmusical. Five people get credits for additional lyrics. In case you are wondering how anything this slight could have reached Broadway, the fact that Hargrove is Pierce's husband certainly didn't hurt. The show could serve as the textbook definition of a guilty pleasure. You might hate yourself for laughing at some of the one-liners, but laugh you will. With its shameless pandering to two pillars of the Broadway audience, Jews and gays, it should have a long run. Running time: one hour 40 minutes, no 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.

Bullets over Broadway ***

Woody Allen's musicalization of his 1994 film, now in previews at the St. James Theatre, provides a consistently entertaining, if not inspired, evening. Susan Stroman's choreography and direction add significantly to the show's strengths, but her collaboration with Allen does not lead to the giddy heights of her work with Mel Brooks. The decision to use popular songs of the 20's instead of an original score works out surprisingly well, with many songs fitting into the plot in clever unexpected ways. Best of all is the strong cast, particularly Marin Mazzie as Helen Sinclair, Nick Cordero as Cheech, Helene Yorke as Olive Neal and Brooks Ashmanskas as Walter Purcell. Zach Braff was out, so I got his understudy Andy Jones as David Shayne. Jones was fine in a vanilla way, but unfortunately looked at least 10 years younger than Betsy Wolfe, his love interest Ellen. Karen Ziemba makes the most of her one number. Santo Loquasto's sets and William Ivey Long's costumes are the best that money can buy. The show moves along at a rapid clip and rarely sags. I was a bit disappointed in the finale, which somehow seemed less than the rousing conclusion the show needed, but I had a good time. Running time: 2 hours, 25 minutes including intermission.

Big Fish **

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Had I seen Tim Burton’s 2003 film about Edward Bloom (Norbert Leo Butz), a tall-tale-telling traveling salesman from Alabama and his uneasy relationship with his son Will (Bobby Steggert), I probably would have passed on the musical. The film’s combination of fantasy, whimsy and sentimentality is not a blend I generally seek out. The creative team led by director-choreographer Susan Stroman has made a noble, but largely unsuccessful, effort to adapt the film for the musical stage. The elaborate scenic design by Julian Crouch, colorful costumes by William Ivey Long and complex projections by Benjamin Pearcy provide lots to look at, almost to the point of distraction. The book, by the film’s screenwriter John August, crams too much exposition with too little emotion into the long first act, but improves a bit after intermission. The talented Kate Baldwin as Edward’s wife Sandra gets a nice ballad, but little in the way of a character to develop. Krystal Joy Brown is lovely as Will’s wife, but the point of casting the role with an African-American actor puzzled me. Since the action takes place in Alabama, what, if anything, are we supposed to make of this choice (which is not in the movie)? To me, the music is the main point of a musical. That’s where “Big Fish” really falls short. Andrew Lippa’s music is bland and his lyrics, banal. Butz apparently has a very devoted fan base -- when he first appeared onstage, the applause was thunderous. If you loved the movie and have time and money to burn, there are worse ways to spend an evening. Running time: 2 hours, 35 minutes, including intermission.

Bunty Berman Presents ***

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Ayub Khan Din's 1996 play "East Is East" is one of the funniest plays I have ever seen (rent the movie!), so I have been looking forward to his new musical, an affectionate look at Bollywood, now in previews at The New Group. This time around, he wrote the book, lyrics and, with Paul Bogaev, the music. Due to an injury that forced the lead actor to drop out, he even took over the title role. I found the show charming, but many might disagree. If you have a taste for silliness, cartoonish characters, corny jokes, ridiculous plot developments, pratfalls, sight gags and word play, you will have a good time. Bunty Berman is head of a third-rate Bombay movie studio whose success was built on its star Raj Dhawan (the hilarious Sorab Wadia), who is now long in the tooth and broad in the beam. The studio's only hope for survival is to take in as a partner a notorious gangster Shankar Dass (Alok Tewari) who wants to turn his son Chandra (Raja Burrows) into a star. Bunty's loyal personal assistant Dolly (Gayton Scott) longs for his attention. Saleem, the tea boy (Nick Choksi), is in love with the leading lady Shambervi (Lipica Shah). Dass is smitten with exotic dancer Sandra de Souza (Lyn Philistine). There is a running gag that one of the henchmen is a walking thesaurus, ever ready with an apt synonym or two.  Derek McLane's functional set is enhanced by projections by Wendall K Harrington. William Ivey Long's costumes are wonderful. The choreography by Josh Prince is hilarious. Scott Elliott's direction is fine. I laughed myself silly, but I am aware that not everyone would share my delight. Running time: 2 hours, 25 minutes, including intermission.

Cinderella ***

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Rodgers and Hammerstein's  TV musical written for Julie Andrews in 1957 has been subjected to much  tinkering over the years. None of its many versions made it to Broadway until now. Douglas Carter Beane has substantially rewritten the book, with uneven results. The king and queen are gone and there are several new characters including a wicked prime minister and a revolutionary. In this version, Cinderella has a social conscience. Another twist is that it is not at the ball that she loses her glass slipper. One of the stepsisters is not mean and gets a love interest. The best argument for this production is that it provides employment for such stalwarts as Harriet Harris, Victoria Clark and Peter Bartlett. Laura Osnes has the loveliness and vocal talent for the title role. Santino Fontana is dark and handsome, although not tall. His abundant charm makes up for his unremarkable voice. The score is not  one of their best, but does include enjoyable numbers like "Ten Minutes Ago," "Stepsisters' Lament." "A Lovely Night" and "Do I Love You Because You're Beautiful." Anna Louizos's scenic design is lavish. William Ivey Long's costumes are often garish. His unflattering high-necked jackets with tails for Fontana make him look short and squat. The fairy godmother has an unfortunate headpiece that looks like the antennae of an insect. Mark Brokaw's direction is assured. It adds up to a mildly pleasant evening, especially if you have a young daughter, niece or granddaughter in tow. Running time: two hours, 30 minutes including intermission.

The Mystery of Edwin Drood **

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The Roundabout Theatre has lovingly revived this 1985 musical adaptation of Dickens' unfinished novel.  Rupert Holmes had the idea of presenting the story as an English music hall entertainment of the 1890's, with the added twist of letting the audience vote for the ending at each performance. It ran for over 600 performances and won Tonys for best musical, best score and best book. That, to me, is the real mystery. The spirited and talented cast is led by Stephanie J. Block, Will Chase, Gregg Edelman, Jim Norton and Chita Rivera. The set design by Anna Louizos is excellent and William Ivey Long's costumes are a delight. Scott Ellis directed. There is abundant merriment, but it seemed forced rather than effortless. The audience was much younger than typical for Broadway and responded with wild enthusiasm all evening. It just wasn't my cup of tea. Running time: 2 hours, 30 minutes including intermission.

Leap of Faith **

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As a fan of Raul Esparza, I jumped at the opportunity to see this much-maligned Broadway musical at a steep discount. Although the part does not show him to best advantage, it still offers the pleasure of seeing him onstage again. The show has many flaws, but it is not the total disaster some of the critics would have you believe. Jessica Phillips is fine as the love interest/antagonist and Kecia Lewis-Evans is terrific as leader of the gospel choir. Alan Menken's music is an improvement over his score for Newsies, but still unmemorable. Glenn Slater's lyrics are bland. The set by Robin Wagner moves around effectively without calling too much attention to itself. The costumes by William Ivey Long are suitably colorful. Don Holder's lighting unfortunately illuminates the bald head of the conductor, who is awkwardly placed right up against the stage. The choreography by Sergio Trujillo is pedestrian. The book by Janus Cercone (who wrote the screenplay for the 1992 film) and Warren Leight has its bumpy spots. It's one of the rare shows that improves in the second act. Christopher Ashley directed. The big question for me is why they undertook this project in the first place. If you've seen 110 in the Shade, The Music Man or Elmer Gantry, you've already seen a far better version of the story of a con man descending on an innocent Midwestern town. Leap of Faith adds nothing to the mix, except that is does provide employment for several fine black actors and therefore is drawing a more racially diverse audience than is usual on Broadway. Running time: 2 hours, 20 minutes including intermission.

Don't Dress for Dinner **

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Robin Howdon's English adaptation of this broad French farce by Marc Camoletti ran in London for six years. Go figure! The characters Bernard and Robert from his earlier success Boeing-Boeing are back. Bernard (Adam James), now married, is planning a weekend with his mistress Suzanne (Jennifer Tilly) while his wife Jacqueline (Patricia Kalember) is away visiting her mother. His best friend Robert (Ben Daniels), who, unbeknownst to Bernard, is Jacqueline's lover, is also spending the weekend. Bernard has engaged a chef, Suzette (Spencer Kayden), to prepare a romantic dinner. Jacqueline's abrupt cancellation of her trip sets off a tightly scripted round of mistaken identities, misunderstandings and pratfalls. The physical humor is extremely well-choreographed and the actors, except for Tilly, are very good. Daniels, who has the thankless task of portraying a character that Mark Rylance played, acquits himself admirably. Kayden repeatedly steals scenes. David Aron Damane makes the most of the small role of George. I suppose it's unrealistic to look for any depth of characterization in a farce, but I felt very little stake in what happened to anyone. What pleasure there is comes from watching the complications unfold with the precision of a Swiss clock. John Lee Beatty's set and William Ivey Long's costumes are fine. John Tillinger's direction keeps the action lively in this Roundabout production. Running time: 2 hours 15 minutes, including intermission.