Anyone Can Whistle

"Anyone Can Whistle" presented by Encores! at New York City Center, April 11, 2010

(Looking back for a link to another review, I discovered that this one never got published.  A year later, here it is! - M)

Playing along the Sondheim tributes of the season, Encores! presents Mr. Sondheim's biggest flop, which ran for 9 performances in 1964.  Originally written and directed by Arthur Laurents, the legend of the bizarre production proves true.  The twisting tale of a failing town led by a corrupt mayor, capitalizing on a phony miracle and offering period-enthrallment with the concept that crazy equals genius.

The book really is a train wreck.  You could practically see the question marks appearing over every head in the audience as one ludicrous plot turn followed another.

Donna Murphy pulls out all the stops as the ambitious and shady mayoress, Cora Hoover Hooper.  In a Jackie O suit and blond wig, the effect ranges from Mitzi Gaynor to Judy Garland, but the energy is non-stop regardless.  Sutton Foster struggles under the weight of the strangely written Nurse Apple, who can only relax in the guise of a French hooker.  She sings well, better in her character's more vulnerable moments.  Raul Esparza fares a little better as J. Bowden Hapgood, looking dapper in a sharkskin suit.

Still, Mr. Sondheim's score rings through clearly, skillfully led by musical director Rob Berman.  Director and choreographer Casey Nicholaw wisely spends little time trying to make sense of the book scenes, but focuses on the musical numbers to delightful effect.

Nightingale

"Nightingale" presented by Manhattan Theatre Club at NY City Center Stage 1, October 18, 2009

Lynn Redgrave returns to the NY stage in her latest opus, focused on her maternal grandmother, Beatrice Kempson. Under treatment again at Memorial Sloan-Kettering Cancer Center, her performance is that of a recitation from her script. Given the premise, this brings no detraction from the event.

This "alteration" is a bit heavily hammered out with both a program insert, and an appearance by Ms. Redgrave's understudy at the beginning to tell us what we've just read, again.

Ms. Redgrave opens her script with a faux-ominous look, then launches into this meditation she has written, creating a back-story about this grandmother whom she merely tolerated as a teen. Her recurring health issue, combined with the recent loss of her niece and the discovery of the acid-rain-induced erosion of said grandmother's gravestone seem to be the premise for her piece.

Most of the story she writes is a fictionalization, imposing her own preconceptions of "Beanie" as a post-Victorian teen, a frightened and unenlightened bride, an unwilling new mother, a weak-spirited Lady Chatterly wannabe, a dismissive wife, a smothering mother to her favorite. The result is a dour and dark portrait of a sad and self-centered woman trapped in a life she doesn't like and feels unable to change. Her character shifts from Beanie, to her grandfather, to her Aunt Maude are clear and effective.

The vibrant Ms. Redgrave, in her illness, feels a kinship to her, that somehow their lives parallel. Yet, Ms. Redgrave has made many of the choices that her grandmother both couldn't and wouldn't fifty years before. She seems to find catharsis in her endeavor, but much of it didn't play for me. Still, her talent and skill make for a compelling bit of theatre.

Music In The Air

"Music In The Air" presented by Encores! at New York City Center, February 7, 2009

(photo: Joan Marcus)

With music by Jerome Kern, book and lyrics by Oscar Hammerstein II, this is a lovely piece that straddles the line between operetta and musical comedy. There are so many moments that foretell of the brilliance to come in future Hammerstein shows. There's a bit of design brilliance already present with the use of diegetic music throughout. From the playbill, Rob Berman describes this as "...meaning that when the characters sing, it is because they are actually singing in the reality of the story."

We also get a preview of a technique Mr. Hammerstein used so beautifully later in "Carousel" where the dialogue is rhymed and spoken in meter.

Kristin Chenoweth is back at the top of her form as the reigning Prima Donna, Frieda Hatzfield. Douglas Sills does his best to keep up, and occasionally gets there as Bruno Mahler, the playwright. Sierra Boggess was lovely as Sieglinde, the ingenue.

Mr. Berman kept close attention to the score and led a thoroughly enjoyable evening. It's this type of show that make Encores! worthwhile.

Yes, Yes, Nanette!

"No, No, Nanette" presented by Encores! at City Center, May 11, 2008

You just can't beat a nostalgic show with good tap dancing.

And, Encores! has brought us one of the best. Using the 1971 revival of the 1920's original, this was the show that brought Ruby Keeler back to Broadway after a 42 year absence.

Now in 2008, Encores! brings back Sandy Duncan as Sue Smith, the loving and trusting wife of philanthropist bible-seller, Jimmy Smith (Charles Kimbrough) raising their niece Nanette (Mara Davi). Jimmy's attorney Billy Early (Michael Berresse) is married to Lucille (Beth Leavel), Sue's best friend. Their nephew Tom Trainor (Shonn Wiley) has been dating Nanette. Round it out with Pauline (Rosie O'Donnell) as the wise-cracking maid.

It's all very sweet, isn't it? Actually, it is. I think this could be described as the

Happiest.

Score.

Ever.

Director Walter Bobbie lets the sweetness flow at the helm of this gem. Simple staging allows Randy Skinner's excellent tap and soft shoe choreography shine through (I didn't find some of the other numbers quite so shiny).

Ms. Duncan is in fine form and still kicks to the right with the best of them (to the left, not so much), but she looks great and sets a standard for the rest of the cast.

As her husband Jimmy, Mr. Kimbrough (of "Murphy Brown" fame) stammers and stalls his way through the well-meaning character, often resorting to his signature "I want to be happy" reprise to deflect focus from his "...philandering with those three lovely girls. Especially, the big one."

The girls are Betty from Boston (Jennifer Cody) in a Rosie Perez-inspired turn, Winnie from Washington (Nancy Anderson) all sweetness and light, and Flora from San Francisco (Angel Reda) as "the big one."

Mr. Berresse's Billy dances best (though "Telephone Girlie" went about two phrases too long), while Ms. Leavel literally stopped the show with "The 'Where-Has-My-Hubby-Gone' Blues." I'm pretty sure that was the song which won Helen Gallagher her Tony and Drama Desk awards for the role in 1971.

As Nanette and Tom, Ms. Davi and Mr. Wiley embodied old-school-style good kids in love. Both sang and danced beautifully.

But it is the score that is the star of this show. With songs like "Tea for Two," "I Want to Be Happy," and the aforementioned show-stopper, Encores! was very fortunate to have the ever-talented Rob Fisher as musical director and conductor.

It's been 35 years since the last revival closed. I'd love to see a full-scale revival of this show back on Broadway (not just a transfer like the recent "Apple Tree" and "Wonderful Town").

The Times Stole My Headline

"From Up Here" presented by Manhattan Theatre Club at City Center, April 9, 2008

Julie White returns to the NY stage after her triumphant (and Tony-winning) performance in "The Little Dog Laughed." It's a triumphant return as the mother of a troubled teen who came close to an act of Columbine proportions. (spoiler alert)

Director Leigh Silverman has assembled an excellent cast including Ms. White as Grace, the mother of Kenny (Tobias Segal) and Lauren (Aya Cash) and one year into her second marriage to Daniel (Brian Hutchison). Kenny is trying to return to some kind of normalcy after being caught with a handgun at school. He can't go anywhere unescorted by an adult and gets his book bag searched at every turn (can't even carry pencils - too weapon-like). With an unscrupulous class-mate assigned as a "mentor," Kate (Jenni Barber) is more interested in him as fodder for her college application essays. Lauren has a dorky suitor in the form of Charlie (Will Rogers). Grace's sister Caroline (Arija Bareikis) drops in for Kenny's birthday from her world travels with the Peace Corps - she's the cool aunt whom Kenny adores. Seeing the havoc of her sister's reality, she ultimately reveals that she's unable to be more than a fun distraction and bolts when Kenny probably needs her most.

As Kenny, Mr. Segal brings us a troubled, confused and vulnerable teen. Conversation requires major effort and expressing himself is nearly impossible. It's a painfully accurate portrait of a teenager in crisis. He provided glimpses of this previously as the Young Man in "Doris to Darlene" at Playwrights Horizons last December.

Ms. Cash's smart-mouthed Lauren is trying to keep a low profile while her family's problems fly around her. She reveals her own vulnerability filtered through the backtalk. She is pursued by Charlie, another callow, yet gawkingly endearing performance by Will Rogers. She treats him like dirt and he keeps coming back for more like a hungry puppy until she finally realizes that despite his feet being crammed permanently in his own mouth, he's a sweet guy she should hang onto.

Mr. Hutchison's Daniel is struggling to keep his new family together. He's a well-meaning, almost noble guy who has a vision of the long-term value of family, despite the fact that his wife's two teenagers treat him like an alien. Coming off initially as almost spineless, he reveals Daniel's layers slowly and tenderly. It's a subtle and tender performance. Ms. Bareikis' Caroline, while appropriately athletic and crunchy, doesn't quite land the discomfort when she realizes that she can't do much more than provide a distraction from Kenny's troubles.

It's Ms. White who once again delivers the goods. Her Grace, at first distracted, well-intended, but seemingly unaware almost dissolves before you. The pain in her eyes as attempt after attempt to connect with her troubled son cuts to the core. Constantly cleaning up, she never finds success. Finally, a literal spilling of milk leads Grace to her breakdown after discovering a neighbor's hired gardener relieving himself in her bushes, she ends up in the same police station that Kenny landed in a few weeks before. From tears to anger to laughter, she gives everything she has - another master class in acting.

Director Silverman keeps the pace moving and the transitions from light to serious are handled with great delicacy. (I did wonder what the symbolism was of having all three female characters shirtless in the first act.) Allen Moyer's sets move from realistic to more suggestive without interrupting the story. Mattie Ullrich's costumes are functional as is Pat Collins' lighting.

Starwatch: Playwright David Henry Hwang in the audience.

How Are Things in Irish Drama?

"Juno" presented by Encores! at New York City Center, March 30, 2008

Based on the 1926 play "Juno and the Paycock" by Sean O'Casey, this "Juno" is the musical adaptation by Joseph Stein (book) and Marc Blitzstein from 1959. With its dark tale of Irish struggles during the 1921 Irish Rebellion, it's not quite the happy-go-lucky Irish tale the art to the left might indicate.

Much more in the tradition of Irish drama, it follows the tale of Juno Boyle (Victoria Clark) and her family. Her ne'er-do-well husband Captain Jack (Conrad John Schuck) falls victim to Irish stereotype as does his sidekick Joxer Daly (Dermot Crowley), allergic to work and overly fond of drink. Daughter Mary (Celia Keenan-Bolger) longs for a better life than the one Jerry Devine (Michael Arden) might provide. Son Johnny (Tyler Hanes) lost his arm during the rebellion and can't seem to get any focus on where his life may lead. His best friend Robbie Tancred (Kurt Froman) is killed at the outset of the story, the result of a betrayal.

With unemployment rampant and a recalcitrant husband, a distracted daughter and an injured son, Juno's luck appears to change when an English lawyer, Charlie Bentham (Clarke Thorell) arrives bearing news of a dead cousin of Capt. Jack's and a sizable inheritance. Mary is immediately smitten and Capt. Jack starts the words land in his ears. Meanwhile, rebellion forces are snooping around looking for the one who betrayed Robbie (duh, guess who!).

And you can guess what happens with the inheritance and the lawyer.

As the worn and haggard Juno, Ms. Clark sings as beautifully as ever. She shows a genuine bond with her children, but never really showed why she let Capt. Jack continue to hang around without contributing to the household. Her madrigal duet with Ms. Keenan-Bolger, Bird Upon the Tree, stopped the show (or as close as anything that evening might have). Ms. Keenan-Bolger's Mary showed me precisely why she was originally cast as Clara in "The Light in the Piazza" as well as why the role was later recast with Kelli O'Hara. Her soprano voice effectively portrayed the young woman who longs for more.

Mr. Schuck's Capt. Jack staggers, but never really lands on his character. As brother Johnny, Mr. Hanes makes a particularly powerful turn in the Act II ballet (talk about dancing with one arm tied behind your back).

Messrs. Stein and Blitzstein also give us a kind of Greek chorus with Mr. Madigan, Mrs. Coyne, Mrs. Brady and Miss Quinn - a quartet that reminded me of the crones from Boublil and Shonberg's Martin Guerre - providing a bit of humorous relief and various crossovers.

Irish director Garry Hynes, known for award-winning work with Irish drama captures the book scenes with the gravitas and sense of hopelessness one might expect. Unfortunately, this doesn't extend quite so successfully to the songs.

Warren Carlyle's choreography in the Act II ballet is the highlight of the performance. I'd have been happy to cut directly to the ballet from the madrigal and called it a night.

Mr. Blitzstein's remarkably modern score captures the darkness of the subject matter, flavored with Irish inflections. Given the way the songs are packed together, I can't help but wonder why he and Mr. Stein didn't go ahead and make the piece entirely sung-through.

The original only ran 16 performances in 1959. In a year that included "The Sound of Music," "Fiorello!," "Gypsy," "Once Upon a Mattress," "The Most Happy Fella," "Flower Drum Song" and "Redhead," there wasn't much room for a dark horse like "Juno." It's one I'm glad to have seen, but don't think I need to see again. Thanks to Encores! for providing this kind of programming.

Fasten Your Seatbelts

"Applause" presented by Encores! at City Center, February 10, 2008

The new Encores! season has started with a relative bang. The 1970 "Applause" with book by Betty Comden and Adolph Green, music by Charles Strouse and lyrics by Lee Adams, was quite the star vehicle for Lauren Bacall, winning four Tonys and three Drama Desk awards. Based on the classic Bette Davis film "All About Eve" from 1951 (And you thought film to stage was a new concept?), it "updates" the story to 1970 in the wake of Vietnam, rather than the aftermath of WWII. If you really need a plot summary, you should be ashamed, but you can click here for the original movie plot - I think the adaptation to the stage did little more than change the period.

I first saw a production of "Applause" in the early 1990s. The score struck me as dated and the book, a bit creaky. Both observations still hold, despite the excellent orchestra under the skillful direction of Rob Berman.

Chip Zien and Kate Burton in the supporting roles of Buzz and Karen Richards, Margo's playwrights, have a grand time with their crossover numbers and supporting player shtick. I haven't heard Ms. Burton sing before and she does a nice job. Mr. Zien is in his usual fine form.

As Bill Sampson, Michael Park takes a well-deserved break from television's As the World Turns' Jack Snyder. He is well-cast as the handsome younger director in love with the slightly older Margo. His part is a bit thin (it's really not one of Comden and Green's better books), but he sings nicely and it's easy to understand why Eve is so attracted to him.

Tom Hewitt is nicely nasty as Howard Benedict, the Broadway producer who turns the tables on Eve after she tries to step over him on her way up. Mario Cantone is remarkably subdued as Duane Fox, Margo's hairdresser, though he does take his moment when it's appropriately given to him with a nod to Ms. Davis and Katherine Hepburn tossed in for fun.

Director/choreographer Kathleen Marshall has reunited the mother/daughter pairing of Christine Ebersole and Erin Davie in the respective roles of Margo Channing and Eve Harrington. It's actually quite an effective touch of casting.

Ms. Davie's Eve truly captures the the vulnerable and mousy waif who burrows her way into Margo's life. Her transformation into starlet is skillful, sleeping her way to the top, regardless of the consequences. When what "goes around, comes around" it's a well-deserved and satisfying end.

It's Ms. Ebersole who carries the bulk of the show. As I mentioned earlier, I had seen a production of the show many years ago. At the time, it was easy to see Ms. Bacall in the role, but still with remnants of Ms. Davis lingering. Ms. Ebersole totally makes the role her own in no uncertain terms. There are no references to either of her predecessors' Margos - quite a feat.

Ms. Marshall has also done an excellent job capturing the period in her choreography with a strong feel of early Michael Bennett. I do think more time was spent on the songs than the scenes. This was the first time I was really distracted by the actors carrying their scripts. I especially liked the new staging and arrangement of the title song extended into a tribute medley of other Encores! productions including The Apple Tree, Babes in Arms, Boys From Syracuse, Bye Bye Birdie, Call Me Madam, Can-Can, Carnival, Chicago, Follies, Hair, Kismet, The New Moon, Of Thee I Sing, On a Clear Day You Can See Forever, Promises, Promises, St. Louis Woman, Stairway to Paradise, Strike Up the Band and Wonderful Town. (I think I identified all but three of these from the musical references.)

Don't Cry For Me, Styne and Sondheim

"Gypsy" Encores! Summer Stars production at City Center, July 19, 2007

As Encores! continues to expand programming beyond their original mission, up first is "Gypsy" starring Patti Lupone. Seems like she and Bernadette Peters are competing to see who can do the most Ethel Merman roles. At the moment, I believe they are tied at two each. Ms. Peters has performed Mama Rose and Annie Oakley (both on Broadway) to Ms. Lupone's Mama Rose and Reno Sweeney. If there are others I've neglected, I'm sure I'll be corrected in short order.

This production, under the direction of its book writer Arthur Laurents, does just what a limited summer run should do; bring in a crowd and give them some laughs. Mr. Laurents milks his script for every laugh he can find, even at the price of one or two moments where a bit of pathos might have been nice. In particular, at the end when Gypsy asks Rose why she did what she did all her life. Rose replies "I just wanted to be noticed." It should have been the final touching revelation of Rose's humanity, but instead the mask is solidly back in place and the line is merely tossed out.

As Rose, Ms. Lupone is in her usual fine voice (diction not withstanding). She trumpets through the score, belting out each number with her regular ferocity. Her Rose, however, doesn't always match up to this voice. As she continues to place set pieces during the Orpheum audition (Caroline the Cow), she tiptoes about. When she realizes she's visible, it seems she already knew it, rather than being surprised and attempting to choreograph herself offstage.

In what has been characterized as the most thankless male role in musical theatre, Boyd Gaines gives it everything he's got as Herbie, the world-weary agent. Gaines handles the meek side of Herbie very nicely, but seems a bit at a loss when Herbie does at last lose his temper. His scenes with Ms. Lupone did have a particularly nice quality to them - excellent onstage chemistry.

In supporting roles, Leigh Ann Larkin as Dainty June and Tony Yazbeck as Tulsa turn in fine performances, but both felt a little held back. Ms. Larkin's June gets a couple of good shots in with her scenes with Louise, but I would like to have seen her more angry about being tied to Rose so tightly. Mr. Yazbeck's "All I Need Is The Girl" showcased him beautifully - a fine singer/dancer.

As Louise/Gypsy, Laura Benanti is delightful. She plods along playing second fiddle to June and June's image until her moment to shine finally arrives. The transformation scene, when she's dressed to go on for her first strip was one of the most touching I've seen of the MANY productions of "Gypsy" that I've attended. This transformation continued all the way through the entire strip-sequence, adding layers as she took them off.

Sets by James Youmans and costumes by Martin Pakledinaz were functional and appropriate, but it is Howell Binkley's lighting that makes this production work.

Star watch: Nigel Redden, director of Lincoln Center Festival and Spoleto Festival USA.

"Shot Who?"

"Our Leading Lady" presented by Manhattan Theatre Club at City Center Stage II, April 25, 2007

Charles Busch's latest offering, "Our Leading Lady" tells the presumably fictional back story of Laura Keen, a 19th century actress-manager, whose production of "Our American Cousin" was playing the night Abraham Lincoln was assassinated at Ford's Theatre.

I couldn't help thinking that this would be great fodder for a musical. Mr. Busch has assembled the stock characters one might have found in the acting company of Ford's Theatre at the time, the dotty older actress, the leading man with a drinking problem, the character actor of questionable sexual orientation married to a former ingenue, etc.

(Spoiler Alert) In the first act, he has created a period melodrama, telling the story of how Ms. Keen has left New York after her acting company there went under. She is now touring her production of "Our American Cousin" across the country, playing the lead and supported by local actors at each stop. On this stop, she is also in secret negotiations to take over the running of Ford's Theatre and staff it with members from her New York company. Needless to say, the local actors are suspicious and unhappy. Egos run from testy to maniacal. When Laura learns that the President has decided not to attend her play, she writes to him immediately, and is able to change his mind. We all know what happens next.

Things take a dark shift in the second act. Laura's efforts of kindness toward her long-time dresser/maid, Wu-Chan (now revealed as a once-runaway slave) are not received as she would have expected. The relationship, founded on a mutual disregard and denial for what was obvious in order to serve each one's purposes, struggles through an attempted switch in roles of care giver and receiver. Wu Chan wants to find her brother and claim six acres promised to her by her former owner. Laura sees this as unlikely, if not impossible, given the war and despite emancipation, begging Wu Chan to stay and travel with her to her next tour stop in Ohio. Laura and the cast are questioned by the authorities about possible involvement with Mr. Booth's actions, since several company members might have a motive to help the assassination plot. The former ingenue is held overnight because of her Southern family ties and previous public statements against the war.

All is resolved, ever-so-theatrically, in a grand monologue delivered by Laura which thoroughly impresses the company, but only befuddles the investigator who writes them all off as not mentally stable enough to formulate, let alone participate in the assassination. Laura's plan to take over the theatre falls through, and her tour is cancelled.

As Laura Keen, Kate Mulgrew gives her best William Shatner version of a pompous and self-important actor. Maxwell Caulfield, as the aging leading man with a teeny-tiny drinking problem is just about unintelligible, but still quite handsome. As the dotty Mrs. Bentley, Barbara Byrne is steadfast and probably the most consistent performer in this production.

Santo Loquasto's versatile set uses a rotating proscenium arch, turning periodically as the scenes shift. In the second act, the proscenium is tilted against the back wall, a metaphor for the collapse in the aftermath of the assassination. Brian McDevitt's lighting gives the appropriate period feel to the proceedings. Jane Greenwood's period costumes were spot on.

Mr. Busch has written some very nice and clever moments into his script. Late in the first act, while railing against the Booths for prior offenses to her career (which may or may not have led to the failure of her New York company) she says, "At least there's nothing the Booths can do to me now." There are plenty of other laughs as well, but the evening still feels a bit unsatisfying. Is the play meant to be just a broad comedy with some dark moments? Is it meant as a commentary on the artificiality of politics? Is it meant to comment on how women survived in the 19th Century? We get these questions, but the answers remain unclear.

(Star-watch: Conrad John Schuck in the audience - I saw a fellow audience member speak to him as someone recognizable but unidentified.)

The Girls Upstairs

"Follies" Encores! production at City Center, February 10, 2007

An amazing cast, excellent direction with one of Sondheim's deepest scores, Encores! has delivered one of their best productions.

I think Encores! is one of the greatest ideas around. Gathering very talented performers and theatre artists to quickly mount a basic-staging of some of the theatre's better- or lesser-known shows that might not otherwise ever be seen. Encores! has had some significant successes in changing the fate of shows like "Chicago" (still running from its transfer to a commercial production) to "Wonderful Town" which enjoyed a good year or so in a commercial run, even to the soon-to-close "Apple Tree" at Roundabout's Studio 54.

There was a bit of buzz about transferring "Follies" to a commercial run, but the fervor for that seems to have waned and now appears unlikely (would have required some principal casting changes - Donna Murphy is already committed to another show this year).

Nevertheless, it was quite exciting to see this live production. The only other I'd seen was the 1985 documentary of the NY Philharmonic concert version with Lee Remick (Phyllis), Barbara Cook (Sally), George Hearn (Ben), Mandy Patinkin (Buddy), Carol Burnett (Carlotta), Elaine Stritch (Hattie), Phyllis Newman (Stella), just to name a few. At the time, I really thought I'd seen a definitive interpretation.

Not so.

Casey Nicholaw continues to prove himself as a thoughtful and talented director and choreographer. Of course, an all-star cast doesn't hurt a bit:

• Victoria Clark - Sally Durant Plummer
• Donna Murphy - Phyllis Rogers Stone
• Victor Garber - Benjamin Stone
• Michael McGrath - Buddy Plummer
• Philip Bosco - Dmitri Weismann
• Joan Worley - Stella Deems
• Christine Baranski - Carlotta Campion
• Lucine Amara - Heidi Schiller
• Mimi Hines - Hattie Walker

Too many highlights to list without reciting the show completely, here are a few:

Victoria Clark - I LOVE her! And have since "Light in the Piazza." Barbara Cook is famous for her Sondheim interpretations, but she needs to watch her back. Vickie's got a voice (literally and figuratively) that's up for the challenge. Mr. Sondheim might do well to keep her in mind as he writes his next new show.

Donna Murphy - another musical theatre artist of the highest caliber. Merely her subtle physicalization of this role communicated the years of experiences in Phyllis' life. Quoting Ben Brantley in his review: "To understand what “Follies” is meant to be — and too rarely is — you need only look at Ms. Murphy’s expression when she first sees the actress playing her 19-year-old self."

Victor Garber was both the show of bravado and cringing child that is Benjamin Stone. He was most affecting in his breakdown amidst "Live, Laugh, Love." Michael McGrath came quite a long way from Spamalot's Patsy, giving a particularly athletic song and dance performance in both "The Right Girl" and "The God-Why-Don't-You-Love-Me Blues."

If Ms. Baranski's Carlotta had been any more deadpan, one might have needed to check for a pulse. Nonetheless, it worked for the world-worn character, although she wasn't in great voice the night I saw the show. (I have to add here Jackie Hoffman's comment about her from her "Jackie With a Z" cabaret show at Joe's Pub. "Christine Baranski - she said to me, 'I know Hanukkah - that's Christmas with the candles, right?' ")

There were a couple of staging decisions that seemed to undercut the proceedings. One was the opening, which was much more effective in the 1985 staging. Having so many of the returning Follies girls enter to applause before the "Beautiful Girls" number seemed to undercut its impact. I also thought William Ivey Long and Gregg Barnes' total costume and hair changes for Sally and Phyllis for their respective songs, "Losing My Mind" and "The Story of Lucy and Jessie" interrupted the flow of the story. Changing from the all-black concert attire into an all white gown for Sally and all red "jazz-hot" costume for Phyllis was a bit jarring. Even the baby blue dinner jacket for "The God-Why-Don't-You-Love-Me Blues" was more than what would have been effective.

Things I really did like were the quartet number of young Sally, Phyllis, Ben and Buddy, "You're Gonna Love Tomorrow/Love Will See Us Through" with each couple interrupting and interpolating amongst themselves. It was a great concept that demonstrated how the couples matched and mismatched simultaneously. I also thought JoAnne Worley did a fantastic job leading "Who's That Woman?" and again kudos to Mr. Nicholaw for the mix of the older and younger versions of these characters dancing together.

Speaking again of Mr. Nicholaw (which one can't go without here) he also captured the various dance styles beautifully, (except perhaps for the tango number in Act I). From the tap of "Who's That Woman" to the Jack Cole style of "... Lucy and Jessie" to Busby Berkeley in "Live, Laugh, Love" he proves his worth in spades.

(Star Watch: David Hyde Pierce in the house. I even spoke to him - told him I was looking forward to "Curtains." He said I'd enjoy it "... a fun show")

Who's Getting Married in the Morning?

"Regrets Only" presented by the Manhattan Theatre Club at City Center, January 9, 2007

(Spoiler Alert)

Paul Rudnick's new play asks a rather pertinent question, given the current these days on gay marriage in the US: What would happen if every gay and lesbian took the day off?

As confrontational as that sounds, Mr. Rudnick uses the upper crust of NYC society to set up events leading to just that.

Hank Hadley (George Grizzard) is a world-class clothing designer. He arrives at the top of the show to pick up his dear friend Tibby McCullough (Christine Baransky) to resume their tour of society parties and events. Hank's "longtime companion" of 38 years, Michael, has recently died and Tibby is anxious to get Hank back into life. Tibby's husband Jack (David Rasche) and daughter Spencer (Diane Davis) arrive in short order, both with exciting announcements. Spencer is getting married and Jack has been asked to come to Washington to work on a new constitutional amendment which would define marriage as a union between a man and a woman. This is what sets off Hank, that his best friends would take on a project that overtly discriminates against him.

If all this sounds a little serious and even dark, remember that it's written by Paul Rudnick. Every character, including Myra the Jewish maid, the only one in NY (Jackie Hoffman) gets at least a couple of bon mots to toss out from time to time. Spencer gets one of the first when reflecting on her pending nuptials "...because I'm a lawyer, I can write my own pre-nup." As the topic moves to something more important to this group, that of the dress, Hank is immediately commissioned. During this discussion, Hank gets in a number of pokes at some of the more current popular designers. On Donna Karan: "You should have Donna do your gown. Then you can wear it to work." On Vera Wang: "...always perfect, because they're always the same." On Ralph Lauren: "...love the little embroidered polo players that he puts on everything. Did you know that's really a portrait of him - life size?" Myra gets her own jab in here, when Hank is reminded that he'd done one of Nancy Reagan's inaugural gowns, "... a 98 pound , sun-damaged, 64 year old woman in a strapless gown. Your country thanks you!"

Hank does come back to life by casually organizing a gay strike the day before Spencer's wedding. No service organization, from caterers to florists to Hank's design studio are open and those depending on them are unhinged. Marietta had gone to Hank's for her final gown fitting and was abandoned unclothed. Improvising an outfit of garbage bags and shoe boxes, she runs into a friend on the street who asked, "Prada?" When Spencer's fiance goes missing the same day, Marietta offers: "There is no shame in marrying a gay man as long as he went to a good school." (Tibby responds: "That's true.")

Ms. Baransky returns to NY after a praised run of "Mame" at the Kennedy Center last year. Her Tibby is a graceful, empathetic, thoughtful "rich white woman." She wears the wounds of a girl whose teenaged bout with anorexia was praised by her own mother, but does so with style and panache.

Mr. Rache's Jack is a proper foil to Ms. Baranky's Tibby, handsome, well-dressed, well-educated, well-mannered, but falls a bit into stereotype as a man whose supposed self-awareness covers his lack of it. He says all the right things, but only because he's fallen into the timing of Hank and Tibby's conversations, not their subtext.

As Spencer, Ms. Davis makes one of the most frenetic entrances I've seen onstage. She's truly the product of her parents' contradictions. Ms. Phillips' Marietta is rather two-dimensional, coming across in appearance as a poor man's Marlena Dietrich.

Jackie Hoffman's Myra gets to have the most fun in this show, popping in and out with a world (literally) of accents, tossing verbal hand grenades with each exit.

As Hank, Mr. Grizzard captures the poise and elegance of the premiere designer. His contained grief is touching as he asks Tibby not to spout the platitudes usually bestowed on the grieving, which of course, she can't help but get at least one out. His polite discomfort masks his outrage as Jack announces his plan to help with the marriage amendment.

Michael Yeargin's NY apartment set is just terrific. Contemporary without looking overtly modern, he uses warm tones that serve as a neutral background for the color in the dialogue. William Ivey Long is perfectly in his element with some gorgeous gowns, particularly Tibby's first act red beaded and strapless sheath with a short train. (It doesn't hurt to have an actress with Ms. Baransky's body either.) I was slightly disappointed with Spencer's wedding gown. I found it didn't quite have that unique flair that I would have expected a "Hank Hadley original" would demonstrate.

Overall it's quite a fun show, lots of laughs. I think the political jabs are singing to the choir, though. It plays very well in NYC. I'll be interested to see how it travels to other productions across the country.