BWW Reviews: SERRANO THE MUSICAL's a Laugh Out Loud, Music to Your Ears, Bull-Eye Hit!!! Owww!!!

Serrano The Musical/book & lyrics by Madeline Sunshine/music by Robert Tepper/directed by Joel Zwick/Matrix Theatre/thru March 29, 2015

A perfect combination of talents winningly converges in the world premiere of Serrano The Musical, a non-stop, jaw-dropping two-hour-plus of entertainment at the Matrix Theatre. Joel Zwick ably directs his talented, triple-threat cast in a fast, steady flow of Madeline Sunshine's very witty script and lyrics. A mash-up of Cyrano de Bergerac, Pygmalion and modern-day mobsters, Serrano The Musical provides a phenomenal showcase for the glorious vocal talents of Tim Martin Gleason as Serrano, Suzanne Petrela as his unknowing object of affection Rosanna, and Craig McEldowney's incredible tenor in his variety of supporting roles snaring his share of the spotlight.

The titular character, the loyal, insecure Serrano (commandingly acted by Gleason), serves as the fixer for the Reyo clan. When Don Reyo (well-limned by Peter Van Norden) finds he's possibly going to be prosecuted for a crime he probably committed, Serrano's asked nicely to take care of the pending legal unpleasantry. The Reyos plan to influence the presiding judge by having the judge's daughter Rosanna seduced by Vinnie, a Reyo nephew. With the younger generation's romantic involvement, the judge would have to recuse himself for conflict of interest, opening the bench to a judge already in the Reyo clan's pocket.

But first, Vinnie Pepperini, the physically irresistible, but otherwise completely thick and revolting thug must be schooled in the fineries of culture by Serrano. With Serrano's many attempts to class Vinnie up failing (but to hilarious results), Serrano has to resort to Cyrano techniques.

Playing dumb's really hard to do well. But as Chad Doreck imbues his "dumb not stupid" Vinnie Pepperini with full three-dimensionality, his dumb act steals center stage every time. Doreck's acute comic timing and pitch-perfect, over-the-top facial expressions projects Vinnie's evident charisma, his inherent passion, his undiscovered smarts, and his well-hidden sensitivity. Wait 'til you hear Vinnie mangle words he has no idea of their meanings. Listen for his interpretation of "witness protection program." Priceless!

When Doreck and Gleason, both at the top of their games, pair up in "One, Two, Three Waltz," the results amaze. The duo exhibit just the right amount of awkwardness, mixed with grace and simpatico to make this simple dance lesson really work; ultimately revealing deeper levels of both characters.

Valerie Perri vamps to the maximum effect singing and dancing in her three roles as the ever horny Lily Reyo, Rosanna's practical mother Sophia, and the non-traditional singing (and dancing) Nun. Perri's sizzling solo as Sophia in "Be a Broad" would be a showstopper in any burlesque show.

Chad Borden deftly brings the earnest sincerity of Rosanna's treasured confidante and the fierce, kick-ass confidence of a headlining drag performer to his role of Nickie, the gay son Don Reyo's so embarrassed to have. Bravo to Borden, with McEldowney, James Tabeek, and Tom G. McMahon as Nickie's Dishy Tarts for their full-on, balls-tucked performance commitment to their hysterical drag numbers "Diddle Me" and "I'm Hot." They and the all others nimbly and enthusiastically execute Peggy Hickey's clever and spot-on choreography throughout. Very nice musical accompaniment of Robert Tepper's melodic score by the four-man band led by musical director Jeff Rizzo.

Other stand-outs in this 20+ song musicale include: Doreck's introduction as Vinnie in the "Greased Lightning" homage "Do You Want Me?" with wonderful back-up faux motorcycling by Tabeek and McMahon; Petrela's no longer virginal Rosanna singing "Bad Boy" with the popping chorus heads through the ribbon curtains. (Oh, Boy!); Van Norden's Don Reyo in his nose-to-nose dance with Don Malfonte (an equally effective Matthew Henerson) in the almost erotic "The Don's Tango."

Barry Pearl's sturdy as the down-to-earth Paulie, Serrano's mob advisor and friend. Kristina Miller shines in her smaller role of Don Malafonte's gal Ang.

Stephen Gifford's scenic design evoking Little Italy includes a gorgeous painted backdrop with curtains of green, red, and white ribbons; and an open functional stage with minimal furniture for all the festive routines. Compliments to Byron Batista must be made for Cyrano's, I mean, Serrano's fairly realistic nose.

As one of Serrano's character might advise, "Do yourself a favor and see this."

www.serranothemusical.com

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