Review: Crazy For CRAZY FOR YOU

Crazy For You

Music and Lyrics by George Gershwin and Ira Gershwin, Book by Ken Ludwig, Directed by Kirby Ward, Original Choreography by Susan Stroman, Choreography Re-staged by Eileen Grace; Music Direction, Dan Rodriguez; Original Scenic Design, Robin Wagner; Original Costume Design, William Ivey Long; Lighting Designer, David Wilson; Sound Design, Robby Davis; Production Stage Manager, Nicky Carbone

CAST (in order of appearance): Rachel Abbate, Anna Chensny, Kirby Ward, Matthew Zahnzinger, Kara Arena, Emma Clinch, Emily Cochrane, Cheralyn Cockshaw, Helen Lee, Emma Nardi, Sierra Pilkington, Jenny Gruby Watkins, Aimee Doherty, Susan Scannell Gilbert, Alex Fullerton, Andrew Stevens Purdy, Darrell Morris Jr., Kevin PatRick Martin, Lucas Blankenhorn, Branson Gates, Brian Liebson, Jared Miller, Daniel Moore, Beverly Ward, Mark Nichols, Leon Axt, Chris Charron, Joy Clark

Performances through August 14 at Reagle Music Theatre of Greater Boston, Robinson Theatre, 617 Lexington Street, Waltham, MA; Box Office 781-891-6700 or www.reaglemusictheatre.com

Crazy For You may not be an absolutely perfect musical, but it comes pretty close with a classic boy meets girl, boy loses girl, boy gets girl story by farce-master Ken Ludwig (Lend Me a Tenor), original choreography by five-time Tony Award winner Susan Stroman, and music and lyrics by the singular Gershwin brothers, George and Ira. Twenty years after its first production of the 1992 Tony Award-winner for Best Musical, Reagle Music Theatre of Greater Boston brings back the original sets, costumes, and dances for its fourth staging, under the direction of Broadway veteran Kirby Ward, and starring audience favorites Ward and his wife Beverly.

From the first notes of the rousing Overture, splendidly performed by a 15-piece orchestra conducted by Music Director Dan Rodriguez, the musical treats in Crazy For You could be subtitled "Gershwin's Greatest Hits." Among the highlights are "Someone to Watch Over Me," "Slap That Bass," "Embraceable You," "I Got Rhythm," and "They Can't Take That Away from Me." Although the songs were not written specifically for this show, they fit naturally into the libretto like hand in glove. Set in New York City and Nevada in the 1930s, the musical comedy is about playboy Bobby Child (K. Ward) who only wants to dance, but his wealthy mother Lottie (Susan Scannell Gilbert) expects him to be involved in the family banking business. When he gets sent to Deadrock, Nevada, to foreclose on a theater fallen on hard times, Bobby falls hard for Polly Baker (B. Ward), daughter of the proprietor (Mark Nichols) and the only girl in town. Next thing you know, in the tradition of the old MGM movie musicals, he's going to put on a show to save the theater and win Polly's heart.

Of course, true love is never linear, or there'd be no dramatic conflict and no story. Mistaken intentions lead to stolen identity, but all for the greater good. Adopting a disguise to impersonate impresario Bela Zangler, Bobby recruits a bevy of chorus girls from New York to teach the lethargic cowpokes how to dance while the theater undergoes a makeover, but ticket sales are disappointing, to say the least. "Zangler" apologizes for the failure, but Polly and the townsfolk are grateful for their new lease on life and celebrate in one of the best, and most energetic, of the many dance numbers in the show ("I've Got Rhythm"). Eileen Grace restages Stroman's inventive choreography and the ensemble never misses a step, be it on the roof of a car, a stack of chairs, or a row of pizza trays. The production numbers are, in a word, phenomenal.

There are several plot twists and at least four love stories that don't always play out as expected, but that's what makes them so delicious. Spurned by him in New York, Bobby's wealthy society fiancée Irene (Aimee Doherty) tracks him down in Deadrock to deliver an ultimatum. She makes life miserable for the saloon owner cum hotelier Lank Hawkins (blustery Leon Axt), who is in a state of unrequited love with Polly, but you can sort of figure out where their relationship will go. When things heat up, Doherty does her best femme fatale routine, which includes a very impressive act of hog-tying in record time (watch closely, or you'll miss it!). Meanwhile, Polly spurns Bobby in favor of faux "Zangler," but complications arise when the real Zangler (fantastic Matthew Zahnzinger) literally stumbles into town to profess his love to his dance director Tess (smart and sassy Rachel Abbate).

Ludwig's libretto is fun and occasionally farcical, with only a smattering of scenes that seem paced too slowly in the first act. However, once the band strikes up the great Gershwin music and we hear the thundering tap shoes, all is forgotten. Both of the Wards are accomplished dancers and make it look easy; when they are in each other's arms, they move as one and it is quite an exquisite sight (especially in the finale), but they are equally at home mixing it up with the ensemble. Bobby is rarely offstage and Kirby's energy flags, hinting that the character might be better served by a younger actor, but it doesn't affect his sweet vocals. However, Beverly has no trouble firing on all cylinders to convey Polly's spunk and independence, or to shift gears when she lets down her guard to find love. As good as she is on her feet, Ward knows how to act a song; her voice embraces and conveys the emotion in each of Polly's numbers.

Owing to my love of the Gershwin score and tap dancing, I'd likely be crazy for Crazy For You on a bare stage with the actors in rehearsal attire. However, RMT has the benefit of three-time Tony Award-winner Robin Wagner's original scenic design and the costumes of six-time Tony Award-winner William Ivey Long, as well as stellar lighting design by Elliot Norton Award-winner David Wilson. As director, Ward's familiarity with the show shines through, seamlessly transitioning from location to location, and getting strong, focused performances from the cast of more than two dozen. From all appearances, Crazy For You is a labor of love and, if I may borrow a lyric from another great American composer*, it is so easy to love.

*Cole Porter

Photo credit: Courtesy Reagle Music Theatre/© Herb Philpott (Beverly Ward as Polly Baker and Ensemble perform "I Got Rhythm")

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