Review: ROAD SHOW At Signature Theatre - Take the Journey

What an absolute thrill to be able to see the latest incarnation of Stephen Sondheim's long gestation of the story of Addison and Wilson Mizner in ROAD SHOW. I have known a long time about the Mizner brothers because my in-laws lived in Boca Raton, Florida, and I recall visiting Mizner Park.

Signature Theatre 's Artistic Director Eric Schaeffer points out in the program that this is their 26th production of a Stephen Sondheim musical and comments that no other theater in America has presented the works of one artist in such a consistent manner.

And what a delight ROAD SHOW is. I wanted to listen to the CD immediately after the show. Yes, I know there are recordings of the 2004 BOUNCE (it's former name) and the 2008 production at the Public Theater in New York (both available on Nonsuch Records), but I wanted THIS one. What a cast, what music, so wonderful. As Tony in WEST SIDE STORY sings..."Something's coming, something good, it will be great". Well, it's here at the Signature.

The topic of the Mizner brothers began with Sondheim's WISE GUYS in 1998, to BOUNCE in 2003 (where it played at the Kennedy Center), and then ROAD SHOW in 2008.

Gary Griffin who directed the well-received ROAD SHOW in 2014 at the Chicago Shakespeare Theater where he is the Associate Artistic Director, has helmed a superb cast in giving us in the Baltimore/Washington area a chance to view this "well traveled" piece from the Sondheim canon. I've seen three of his musicals he directed on Broadway: HONEYMOON IN VEGAS (which I saw at the Paper Mill Playhouse), THE APPLE TREE, and THE COLOR PURPLE. So I expected a lot and I was not disappointed.

But don't look for a lush huge orchestra or a fabulous overture. In fact, there is NO orchestra pit. In fact, you can't find an orchestra so to speak. When you arrive inside the MAX theater, it is in the same configuration as WEST SIDE STORY with the audience on three sides. Upstage there is the talented Jacob Kidder on an upright piano located upstage playing some ragtime music to get us in the mood. Members of the ensemble pick play the violin, guitar, tuba, banjo, and other percussion instruments (even an Irish bodrum) above the stage, on stage, and to the sides of the stage. (I wish the program credited the actors who doubled as musicians.) Once again, Jon Kalbfleisch serves as Musical Director.

In a way the musical is like the Jules Verne novel "Around The World in 80 Days". After Papa Mizner (the always engaging Dan Manning) on his death bed sings to his two sons "It's In Your Hands Now" and asks them to "make me proud". The brothers begin their quest for fame and fortune starting in a "frigid" existence in the Alaskan gold rush (a delightful scene watching the brothers attempt to sleep together in sleeping bags). Wilson, a compulsive gambler, sings about the whole thing (life itself) is nothing but a game. He comments, "The thing that matters is the game! It's more than just the money." After losing their money when a saloon they bought goes bust, Addison decides to go off on his own. Get out the passport as he ventures to Hawaii, Bombay, Hong Kong, and Guatemala. Director Griffin has a lot of fun with the various souvenirs depicting his travels. Addison finds he has a talent for making art, railroad stations, concert halls, etc. He gets hired to build a pool house for a wealthy patron. Wilson ends up representing a boxer (who sings that Willie has class), investing $50 million in a Broadway show, and buying a horse (all thanks to the marriage to a wealthy woman. While Wilson's lucky marriage ends in divorce, Addison finds love with Hollis and what a team they made.

It is Addison who discovers the wonders of Florida, in particular Palm Beach where he builds mansions and makes bundles of money and later turns his focus to an area that just came on the market named the mouth of the rat or Boca Raton. Wilson joins him in Boca but their relationship once again fails. Addison sings "It used to be fun from scheme to dream, I thought we were a team...but just go away!" Wilson then heads to Hollywood to write films.

Well, that's the story. The music is just plain wonderful, even without a full orchestra.

Noah Racey (Wilson) and Josh Lamon (Addison) are terrific together and apart. Matthew Schleigh (who I recall from Everyman Theatre's fabulous A GLASS MENAGERIE) shines in his role as Addison's love interest. They have a wonderful duet, "The Best Thing That Ever Happened".

Sherrie L. Edelen plays Mama Mizner and sings the lovely "Isn't He Something".

The talented ensemble are Erin Driscoll, Stefan Alexander Kempski, Jason J. Labrador, Jake Mahler, Angela Miller, and Bobby Smith.

The clever Scenic Design is by Scott Davis (I loved the map at the back of the stage and lights were used to follow the travels of Addison), effective Lighting by Joel Shier, and great Costumes by Ivania Stack.

Wilson Mizner states, "Life is a journey. A road down which we travel, every seeking, never satisfied. An endless quest for something different, something better. Onward we go, restlessly reinventing ourselves."

So...don't let this journey pass you by.

There is a free program on March 3 when both Racey and Lamon will speak about the show from 1-2 p.m.

Check out Nelson Pressley's handy guide to the past productions in the Sunday Washington Post on Feb. 21.

ROAD SHOW runs to March 13. For tickets, call 703-820-9771 or visit www.sigtheatre.org.

Sondheim turns 86 the end of March. HAPPY BIRTHDAY!!!

cgshubow@broadwayworld.com

To post a comment, you must register and login.