Review - Bye Bye Birdie

As I took my seat for what I believe was the final press performance of The Roundabout's revival of Bye Bye Birdie, I was, as always, prepared to take in the production with an open mind. But of course I was aware, as I'm sure were most of the assembled playgoers, of the drubbing director/choreographer Robert Longbottom's mounting had received from the vast majority of the first round of critics. (Except for that pushover, John Simon, who we all know loves everything.)

And while I have to agree with the critical majority on this one, there's really no sense in subjecting you dear readers to another reviewer's attempt to describe the jaw-dropping mess that now occupies Henry Miller's Theatre. You don't need to read again how the two leading players lacked the necessary skills to play their roles. You can get on with your happy lives without perusing another attempt to find the proper metaphors to describe that oddball performance by an otherwise respected stage actor. The strange costume designs, the inappropriate set, the lack of decent choreography and the cutting of the musical's two ballets; one of which can be at least be called a semi-classic; no I'm not going to write about that here.

Let's just say I arrived at the funeral after the body was buried. No sense in throwing more dirt on the casket. I'll just send my condolences to the late Michael Stewart, that master craftsman of musical theatre bookwriting, Charles Strouse, who wrote such peppy, attractive melodies and Lee Adams who contributed cute and clever lyrics. They wrote a charming, funny musical comedy that serves as an excellent star vehicle for polished song and dance performers. The strength of their words and music still shine at Henry Miller's Theatre, but Bye Bye Birdie deserved so much better.

So let's just remember the good times, shall we?

Like the performances of Allison Strong, Julia Knitel, Emma Rowley, Jess LeProtto, Daniel Quadrino, Paul Pilcz, Deanna Cipolla, Kevin Shotwell, Riley Costello, Catherine Blades and Jillian Mueller. They were the singing and dancing ensemble of teenagers who threw themselves into their numbers and livened up the proceedings with real show-biz energy every time they were on.

And the lovely 14-year-old singing voice of Allie Trimm, who gave a good acting performance as Kim and who I suspect would have given a better one if someone had told her why the role was funny. I'll say the same for Nolan Gerard Funk, who, despite looking far too young to be Conrad Birdie, played the role with sufficient pop-star swagger. I'm sure it's not his fault that the role's satirical edge never entered into the picture.

That In My Life survivor, Brynn Williams (the youngest recipient ever of The Gypsy Robe), who was mighty impressive in her small role in 13 and here appears as the hyper-enthused Birdie fan, Ursula, continues to grow as a strong Broadway singer and dancer. I wouldn't be surprised to see her stopping shows in starring roles in ten years or so.

It's always great to see three-time Tony nominee Dee Hoty on stage. A real musical theatre pro who exudes elegance and charisma. Too bad she's stuck with the minor role of Mrs. MacAfee. And what a shame to see the enjoyable talents of seasoned musical comedy men like John Treacy Egan (a former Max Bialystock in The Producers) and Jim Walton (Merrily We Roll Along's original Franklin Shepard, inc.) underutilized in their tiny roles.

Of course, no matter what's written by "those mean New York theatre critics" (excluding that nice John Simon, naturally) this Bye Bye Birdie could wind up being a popular hit after all if audiences are satisfied with simply seeing a beloved oldie with a pair recognizable name stars. After all, some may say, it's just a musical. And while I like to see theatre folk employed, such public acceptance doesn't make me put on a happy face.

Photos by Joan Marcus: Top: Brynn Williams, Jillian Mueller, Daniel Quadrino, Emma Rowley, Allison Strong, Jess LeProtto, Catherine Blades, Paul Pilcz, Kevin Shotwell, Deanna Cipolla, Julia Knitel and Riley Costello; Bottom: Nolan Gerard Funk and Company

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