We shouldn't have to worry about brownouts this summer. There's enough energy on stage in the Goodspeed Opera House's current production of "My One and Only," that we could decommission all of southern Connecticut's nuclear power plants and still run our air conditioners on high.
And that's not the half of it. There's that luscious George and Ira Gershwin score ('S Wonderful, High Hat, He Loves & She Loves, I Can't Be Bothered Now--need I say more), some absolutely remarkable costumes by Robin L. McGee, several surprising performances, and clever use of scenery and props to accomplish on the small stage what no doubt cost millions on Broadway. And to think all of this from a 1983 show whose unexpected rebound from being an unmitigated out of town disaster to overwhelming Broadway success has earned it a place in theater history books.
After all, the production was planned as a very deliberate vehicle for the particular talents of uber-dancer/choreographer/director Tommy Tune and his pal, the short, paper-thin model, Twiggy, who was generally not known for her singing and dancing talents. It took many of the numbers from the Gershwin's "Funny Face," added a few more of the brothers' more popular tunes, and created an entirely new storyline. In Boston, original director Peter Sellars' attempts to create a Weimar Germany atmosphere (with sets inspired by the Bauhaus) confused not only an audience expecting a jaunty evening, but most of its cast as well. Once Sellars was dismissed, there were doubts that the show would ever open on Broadway, but thanks to a lot of fantasizing by Tune and others while they were performing in the tryout, the producers, a new writer and with Tune at the helm, a whole new show--incorporating the square-jawed sets--took New York critics by storm.
The revised show had a modern attitudel to it--placing Gershwin's music and a tradition-inspired script with a contemporary understanding. The show has not enjoyed many major revivals since then--one could have conceivably assumed that the show needed the talents of a Tune and the draw of a unique couple in the leads in order to pull in audiences. But Ray Roderick's production in East Haddam puts the lie to that--as does Kelli Barclay's genuinely amazing choreography. The Goodspeed has wisely embraced the art-deco possibilities of the show, as well as deciding to go all the way with the show's billing as "a tap dance spectacular."
Truth is, one does have to pity poor Mr. Roderick, who has an extensive background as a choreographer, and, more significantly, Ms. Barclay, for the challenges they faced in mounting this show. After all, if you've heard one "clip, tap" on a wooden floor, you've heard them all--right? How are you going to possibly make an evening grow in excitement and anticipation when tap dancing numbers are continually coming at you? Well, Mr. Roderick and Ms. Barclay pulls it off effortlessly. For someone whose first job as chief choreographer at Goodspeed was last year's "How to Succeed in Business Without Really Trying," after many years of toiling as an Associate Choreographer, Ms. Barclay manages to surpass and surprise with every subsequent number. And don't think for a moment that she's holding back at the beginning of the show. Her opening number with the ensemble in bright yellow raincoats and open umbrellas establishes the energy and creativity that will distinguish everything else she offers in the show--and no two will ever look alike.
The art deco gloriousness of James Youman's staired set is complemented deliciously by ample use of old film clips and the ingenious use of projections to not only further establish the time period, but to create some dazzling special effects, as when (spoiler alert!) the dancer's umbrellas create a screen that enables the main character, famed aviator Captain Billy "Buck" Chandler, to tap his way across the wings of his biplane.
Tony Yazbeck is another welcome surprise of the production. He's enjoyed an estimable young career as a standout chorus boy, frequently assigned some special moves or actions that make his appearances memorable. Just last fall, he attracted a lot of attention--and not just because of his chiseled, muscular torso--as one of the Queen of Egypt's servants in the Hartford Stage production of "Antony and Cleopatra."--and made for an equally memorable Tulsa in the Patti Lupone revival of "Gypsy."
He's now moving up in the ranks to that of Broadway leading man and his performance here indicates that he has potential--if only for his enthusiasm and durability. He tap dances his way through the entire show in ever more complex numbers, incorporating flashier and faster foot movements. And he does have an excellent singing voice, especially when it can be heard above all that tapping. In an example of one of the musical's more knowing re-interpretations of Gershwin's, the normally exuberant "Strike Up the Band" is reconfigured as a slow, circling ballad of hope, demonstrating Yazbeck's ability to deliver. He also provides a more believable take on the Captain's Texas "hick" naivete mixed with an immature derring-do (he wants to be the first person to fly solo across the Atlantic). He's especially convincing when his hayseed is first cramped into black tie and tails. He seems to be overwhelmed by the costume, gawky and uncomfortable as one imagines Superman is every time he's forced to retreat back into his identity as Clark Kent.
He evens tries to remain in character during his second act challenge tap with the remarkable and endearing Alde Lewis, Jr., as the mysterious fixer Mr. Magix, played in the original by the legendary tapper Charles 'Honi' Coles. Lewis is a former protégé of Coles and he steps into those tap shoes with a wry enthusiasm that sends waves of delight out over the footlights and back. Barclay and Roderick quite reasonably allow him the final word, er tap, of this choreographed conversation.
Gabrielle Ruiz is an accomplished singer and graceful dancer as Edythe Herbert, English channel swimmer and love interest for Captain Billy. Ruiz is a bit too brash to be a true coquette, so her back and forth with Billy and her disgust with her mentor, the nasty Prince Nikki, contains definite feminist overtones, which actually meshes quite well with Yazbeck's more macho and masculine Billy. Sure, she can overact at times, but that's consistent with a modern sensibility looking back to the early decades of the last century. And she can hold her own not only in the vast amount of dancing she does but in some of the more unusual lifts and carries that highlight some of her numbers, not to mention her ability to keep pace with Yazbeck every step of the way.
For comic relief, Kirsten Wyatt is earnest and determined as Billy's devoted mechanic who's always ready with a wisecrack or an aside. Khris Lewin plays the relentlessly oily faux "Prince" Nikki as part-pimp, part moustache-twirling villain, though his curled moustache is sufficiently twirled all on its own. He and Wyatt get to do the classic "Funny Face" which they play justifiably as a comic interlude. And then he's off to do a quick change to appear as a rotund bearded Moroccan nightclub owner as a chorus of veil-clad belly dancers use their zills (that's what those clanging finger cymbals are really called) to counter the Billy's tapping in a creative reprise of the title song.
Providing back up support, occasional comments on the action, and appearing as extra characters whenever needed are Reverend J.D. Montgomery and his three backup New Rhythms, who can writhe sensually across the stage or engage in four part harmony with exquisite delicacy. Trent Armand Kendall makes for a commanding Reverend, in both voice and girth, while Vasthy E. Mompoint, Victor J. Wisehart and Richard Riaz Yoder enjoy providing their support.
While we enjoyed Yazbeck's and Ruiz's well-choreographed dance on the beach, we did miss the special effect of the little trough of water that Tommy Tune and Twiggy took specific delight in splashing through, although the musicians and front row at the Goodspeed probably would not have appreciated it. And Yazbeck is not quite yet the fully commanding leading man figure he obviously has the potential to be. But "My One and Only" is clearly one of the most elaborate, creative and rewarding productions that the Goodspeed has ever assembled. The costumes can be breathtaking, especially in the superlative "Kicking the Clouds Away" number that closes the evening, when one assumes the choreographer has used up every idea in her bag of tricks. Oh, please! Barclay continues to astonish, as do her never-tiring dancers, as they move up and down the stage length stairs in ever changing combinations and patterns (do you know how difficult it is to dance up and down on stairs--it's like step aerobics only worse). Plus this show contains my favorite Gershwin song ("Nice Work If You Can Get It," sung splendidly as a regretful ballad by Ruiz), so who could ask for anything more?
"My One and Only" will run through June 25, 2011. Curtain times are Wednesday at 2 p.m. and 7:30 p.m., Thursday at 7:30 p.m. (with select performances at 2 p.m.), Friday at 8 p.m., Saturday at 3 p.m. and 8 p.m. and sunday at 2 p.m. (with select performances at 6:30 p.m.). Tickets are available through the Box Office at 860.873.8668, seven days a week, or online at goodspeed.org.
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