Review: Goodman's Glorious WONDERFUL TOWN

Sunny, charming and optimistic, the Goodman's revival of the 1953 classic WONDERFUL TOWN is, in a word, wonderful.

Featuring a classic score by Leonard Bernstein and intelligent lyrics by Betty Comden and Adolph Green, the whole affair for the most part is unapologetically old fashioned as only a 1953 musical can (and should) be.

Two sisters leave the safe, static confines of Ohio to seek out fame and adventure in New York. Big sister Ruth (Bri Sudia) is indeed big in every way: broad shoulders, voice and spirit. She dreams of being a great fiction writer (after making her name as a journalist, natch). Sudia's performance of "One Hundred Easy Ways (to lose a man)" is a show-stopping, star turn. She finds the perfect balance between comedy and contempt with just the right amount of hidden heart ache in this feminist lament that has become a cabaret standard thanks to its witty and spot-on lyrics. The scene manages to elevate things above the light, comedic tone of the work for just the right amount of time, creating a poignant moment of universal truth.

Ruth's sister Eileen (Lauren Molina) dreams of being an actress. Less talented in the acting department than her older sister is in writing, she is never-the-less a man magnet. Molina, possessing an infectious smile and plays her with broad, comedic strokes. She also possesses the coloratura soprano voice demanded of the role and is perfectly paired with Sudia's deeply rich alto on the sister's duet "Ohio."

Karl Hamilton is suitably understated as RoBert Baker, the magazine editor who is smitten with Ruth. His rendition of "Quiet Girl," in which he pines for his ideal woman, is another moment in the show that transcends the comedy (and it is made that much more profound by the fact the Ruth is silently watching him sing it and you can pretty much see Ruth's heart breaking as he does).

Jordan Brown and Kristin Villanueva play the sisters' neighbors Wreck and Helen, respectively. Wreck is a dim-witted football star shacking up with the lovely Helen without the consent or knowledge of Helen's prim and proper mom (Amy J. Carle). Brown's character isn't too far removed from the one he played at the Goodman in last year's "Vanya and Sonia and Masha and Spike," but he demonstrates some vocal prowess in tackling Alex Sanchez's aerobic choreography while belting "Pass The Football."

As Frank Lippencott, one of Eileen's suitors, Wade Elkins is loveable as the love-struck nerd. A master of physical comedy, he also exceeds in more subtle moments such as the dinner party gone horribly wrong that is the song "Conversation Piece."

Ana Kuzmanic's costume designs are appropriately period with one particular costume drawing the biggest laughs early into the first act (I won't spoil it here).

Todd Rosenthal's set design shrewdly contrasts the vibrant and cartoonish colors of the city with the realistic, drab, dinginess of the sisters' Greenwich Village, garden-level, studio apartment. As anyone who has lived or spent extended time in New York can attest, the Big Apple is filled with many wonderful things that con only be discovered outside of your cramped, over-priced apartment.

The show's director, Mary Zimmerman, is not really known for tackling comedic works, but she proves she is more than capable here. In the wrong hands, the work can come across as outdated and corny. Zimmerman is able bring the show's charm to the surface of every scene, though.

If I had to guess, I would say Zimmerman was attracted to the strong, family bond between the sisters. As we strike out on our own and seek to develop our own identities, we often cling to family as a safe haven and it is that bond that runs throughout this delightful WONDERFUL TOWN.

WONDERFUL TOWN runs through Oct. 23 at the Goodman Theatre, 170 N. Dearborn. Tickets $25-$103. 312.443.3800 or www.goodmantheatre.org/WonderfulTown

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