‘PIRATES! THE PENZANCE MUSICAL’: Nicholas Barasch, Ramin Karimloo & Jinkx Monsoon. Photo: Joan Marcus.

PIRATES! THE PENZANCE MUSICAL
By W.S. Gilbert & Arthur Sullivan
Adaptation by Rupert Holmes
Music direction by Joseph Joubert
Choreography by Warren Carlyle
Directed by Scott Ellis
Through July 27, 2025
Todd Haimes Theatre
227 West 42^nd Street
https://www.roundabouttheatre.org/

By Scott Harrah

Gilbert and Sullivan purists might be puzzled by Pirates! The Penzance Musical, the new, hysterically over-the-top Broadway reboot of The Pirates of Penzance. Regardless, audiences looking for sheer escapism will love it. This updated and modernized version of Gilbert and Sullivan’s operetta just received a Tony nomination for Best Musical Revival. This gleeful iteration is quite different from the first production in New York City in 1879.

The original show was set on the craggy coast of Victorian-era Cornwall, England. In this revival, however, Pirates! takes place in 1880 New Orleans in the French Quarter. The revamped book contains a few additions and changes to the story. Nonetheless, Gilbert and Sullivan’s basic plot remains intact.

Motley crew of characters

The story focuses on naïve young Frederic (Nicholas Barasch). He is about to turn 21 (or is he?) and erroneously becomes an apprentice to a group of motley pirates. This is due to the mistake made by the engagingly eccentric woman who raised him, nurse Ruth (Jinkx Monsoon). In addition, Frederic was born on February 29^th during a leap year so no one can figure out exactly how old he actually is or how many birthdays he’s actually had.

He starts working as an assistant to the pirate, led by the dashing Pirate King (Ramin Karimloo), an alleged orphaned nobleman-turned-pirate who appears intimidating but is a softie in reality.

Major General-Stanley (David Hyde Pierce) is a lovably bumbling military man with a bevy of beautiful daughters. Frederic is immediately lovestruck by Mabel Stanley (Samantha Williams), one of Major General’s daughters.

Twisty plot & many production numbers

Not being that familiar with Gilbert and Sullivan’s body of work, I will not nitpick about whether or not Rupert Holmes’ modern adaptation is true to the original Pirates of Penzance. It doesn’t matter that the story is now set in the Big Easy because New Orleans is a perfect setting for shameless silliness and the lively score, given an all-American flavor with jazz rhythms thanks to music supervisor Joseph Joubert. The entire cast seems to be having a blast onstage, sporting Linda Cho’s elaborate period costumes and performing choreographer Warren Carlyle’s high-spirited dance moves.

Top-notch performances

The vibe of Pirates! is manic and madcap, but the show is first and foremost an operetta/musical. For Gilbert and Sullivan aficionados, the songs are crucial, and David Hyde Pierce does an excellent job with the most recognizable number, the tongue-twisting classic “I Am the Very Model of a Modern Major-General.” Mr. Hyde Pierce is best known for playing fussy snob Dr. Niles Crane on the popular TV sitcom “Frasier,” but he’s been in countless Broadway musicals and dramas and he certainly approaches the quirky Major-General with the right mix of wit and wackiness.

Mr. Hyde Pierce also takes on the dual role of William S. Gilbert while Preston Truman Boyd doubles as both Arthur Sullivan and the Sergeant of Police. Mr., Truman Boyd and Mr. Hyde Pierce both give a brief introduction at the beginning of the show as Gilbert and Sullivan, respectively.

The always brilliant Ramin Karimloo, also a Broadway veteran, is sublime as the Pirate King. He’s handsome, winsome, and agile, with a natural gift for all the physical comedy involved with the role. Of course, he has a dynamic tenor voice and is a huge crowd-pleaser when singing “I Am the Pirate King” in the first act.

Nonstop energy

Jinkx Monsoon, a two-time “RuPaul’s Drag Race” winner, broke box-office records two years ago when she made her Broadway debut in Chicago. As Ruth, Ms. Monsoon hams it up and is as camp as Christmas, but when she sings, one immediately knows why she has so many fans. She has an amazing voice, especially during her solo number, “Alone, and Yet Alive (The Mikado)” in the second act. She consistently captivates the audience with her nonstop radiant energy. When she sings with cast members, the chemistry she has with the others is incredibly palpable.

Nicholas Barasch is perfectly cast as Frederic, the overzealous youngster and pirate apprentice. With his red hair, squeaky-clean looks, and a lush tenor voice, Mr. Barasch delivers a rock-steady performance and shows amazing physical agility with all the frenzied scenes in the show. His love interest, Mabel, is portrayed by the lovely Samantha Williams. Ms. Williams has a gorgeous soprano voice and a natural rapport with Mr. Barasch.

Admirable direction

Overall, Scott Ellis does an admirable job directing everyone and keeps things light and full of vitality while managing to rein in the cast when needed despite all the hubbub onstage. Pirates! The Penzance Musical is not a definitive new interpretation of Gilbert and Sullivan’s 19^th century saga. However, it’s still a lot of fun for anyone looking for an evening of light entertainment.

Published May 4, 2025
Reviewed at press performance on April 29, 2025

‘PIRATES! THE PENZANCE MUSICAL’: Nicholas Barasch, Ramin Karimloo & Jinkx Monsoon. Photo: Joan Marcus.

‘PIRATES! THE MUSICAL’: Jinkx Monsoon & cast. Photo: Joan Marcus.

‘PIRATES! THE PENZANCE MUSICAL’: (Collage, clockwise from top, right): Samantha Williams & Nicholas Barasch; Nicolas Barasch (center right & left). Photos: Joan Marcus.

‘PIRATES! THE PENZANCE MUSICAL’: (Collage, top:) Nicholas Barasch & Ramin Karimloo & David Hyde Pierce. (Bottom, left): David Hyde Pierce as William S. Gilbert & Preston Truman Boyd as Arthur Sullivan. (Bottom, right): Preston Truman Boyd as the Sergeant of Police & cast. Photos: Joan Marcus.

‘PIRATES! THE PENZANCE MUSICAL’: Ramin Karimloo & cast. Photo: Joan Marcus.

‘PIRATES! THE PENZANCE MUSICAL’: The cast. Photo: Joan Marcus.

‘PIRATES! THE PENZANCE MUSICAL’: The cast. Photo: Joan Marcus.

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‘HARMONY’: Allison Semmes (center) & cast. Photo: Julieta Cervantes.

HARMONY
Music by Barry Manilow
Book lyrics by Bruce Sussman
Directed & choreographed by Warren Carlyle
Ethel Barrymore Theatre
243 West 47th Street
(212-239-6200), www.HarmonyANewMusical.com

By David NouNou

Throughout my entire theatre-going days, I have never seen a musical or play that was as well-intentioned as the new musical Harmony. However, there is a price to pay with such well-intentioned offerings. I am sure that none of the creative team or anyone could have ever foreseen what would play out overseas on October 7, 2023. As if politics didn’t divide the country enough, the Israel/Hamas war has created divisions in this country and around the world the likes of which Jewish people haven’t encountered since the early days of the Nazi era in 1933.

Harmony begins at a concert in 1933 at Carnegie Hall in New York City where six performers, three Jewish and three non-Jewish, who were known as The Comedian Harmonists were performing. This group did exist. They were world renowned. They performed in most capitals of the world. They had recordings, were in movies, but all of their fame, music, recordings and movies were obliterated and destroyed once the Nazis took over.

We go back in time to 1927 – 1929 Berlin, when the group was being formed, their early struggles, and how they wanted their act to develop. Basically, they wanted to perform in harmony. The group was formed by Harry (Zal Owen) and consisted of Young Rabbi (Danny Kornfeld), Bobby (Sean Bell), Chopin (Blake Roman), Erich (Eric Peters) and Lesh (Steven Telsey). Their lives become more complicated when Young Rabbi who is Jewish marries a non-Jewish girl, Mary (Sierra Boggess) and Chopin who is not Jewish marries the Jewish anarchist, Ruth (Julie Benko).

There is another character, Rabbi (Chip Zien) who is both narrator and commentator of the proceedings from the rise of The Comedian Harmonists to their demise. Just as in A Beautiful Noise where there is the old Neil Diamond and the young Neil Diamond, the older character becomes more of an intrusion than propelling the story forward. The difference here is Rabbi also plays multiple small parts, with lots of schtick, assuming that is to add comic relief to the proceedings. Rabbi is also the conscience of the show; and how he stood by idly and did nothing as the events were unfolding. Could all of their lives have been spared if he insisted on staying in America instead of returning to Berlin?

Act I comes to an end with a swastika emblazoned on the back wall, and the results are grim. Act II begins in one of the most misguided and absurd openers ever conceived. It is 1934 at a performance of The New Ziegfeld Follies where Josephine Baker (Allison Semmes) is performing atop a white piano with The Comedian Harmonists as her backup singers in white tuxedos in a song entitled “We’re Goin’ Loco!” Loco indeed. This must have been Barry Manilow’s way of cheering up the audience for the devastation to come, a tribute to Lola from his hit song “Copacabana.” Only to be told by Rabbi that this was a fantasy that never really took place.

From that point on you can connect the dots of what’s to come. Again, let me reiterate, the intentions are formidable. As I am writing this review, in the background is the news on TV with what is happening at elite universities and college campuses among students and professors alike, condemning Israel for defending itself and the rise of antisemitism across the country. It’s absolutely chilling to see what happened in 1933 is happening now in 2023. I cheer and applaud Mr. Manilow and Mr. Sussman for taking such a risk in musicalizing and bringing to life The Comedian Harmonists. The score is haunting and meaningful, but the book is very heavy-handed and lugubrious and there is no way of improving it. Not even the dependable director/choreographer Warren Carlyle can alleviate the proceedings. If anything, Mr. Carlyle should have been a better editor and deleted a lot of unneeded moments.

The six voices and harmonizing of Mr. Bell, Mr. Kornfeld, Mr. Owen, Mr. Peters, Mr. Roman and Mr. Telsey as the sextet is phenomenal as are the voices of Ms. Boggess and Ms. Benko. They have all been given solid songs and they all deliver with conviction.

Chip Zien is a Broadway veteran and has extensive credits from Into the Woods and Falsettos to the recent revival of Caroline, or Change. He plays older Rabbi and also narrates the proceedings which is so unnecessary, because they are self-explanatory. He is given the 11th hour song “Threnody”. Its definition: “a wailing ode, song hymn or poem of mourning composed or performed as a memorial to a dead person.” Think of it as Cervantes singing “The Impossible Dream” from Man of La Mancha or Jean Valjean singing “Bring Him Home” from Les Misérables. You are on your feet for the delivery of the song by the artist. Here one finds oneself applauding this incredible powerful song and not the performer. He lacks the power, charm and charisma to carry such an undertaking.

Harmony is a very tough sit-through, but it is an evening that is provocative and thought- provoking only to see how history might be repeating itself.

Edited by Scott Harrah
Published November 16, 2023
Reviewed at November 14, 2023 press performance.

‘HARMONY’: Chip Zien. Photo: Julieta Cervantes.

‘HARMONY’: Julie Benko & Sierra Boggess. Photo: Adam Riemer.

‘HARMONY’: (left to right) Blake Roman, Steven Telsey, Zal Owen, Danny Kornfeld, Eric Peters & Sean Bell. Photo: Julieta Cervantes.

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‘THE MUSIC MAN’: Hugh Jackman, Sutton Foster & cast. Photo: Julieta Cervantes.

THE MUSIC MAN
Book, music & lyrics by Meredith Willson
Based on a story by Meredith Willson & Franklin Lacey
Directed by Jerry Zaks
Choreographed by Warren Carlyle
Winter Garden Theatre
1634 Broadway at 50th Street
(212-239-6200), www.MusicManOnBroadway.com

By David NouNou

Americana at its very best.

I have been called a traditionalist, and I am proud of it. Being one of the few remaining dinosaurs who saw the original version of The Music Man in 1959 at the Majestic Theatre, starring Robert Preston and Barbara Cook, I can’t say I was overwhelmed by it. I was only a little boy, I thought it was too long and I didn’t understand the lingo being spoken on stage.  The things that excited me most were so many people dancing, singing and having a good time on stage. I was dazzled by the sets and costumes. I actually wanted to learn to play a musical instrument so I could be a part of the show and play in Professor Harold Hill’s band.

This brings us to 2022. I never learned to play a musical instrument, but over the years I’ve come to appreciate the complexities of what it takes to write a musical. This is a period piece for sure and for modern audiences it may seem stilted. However, one must see it from the context of when it was written and about the times in which it was written. Meredith Willson, being a native of Iowa, wrote a beautifully complex and textured tale about the people he knew best at the turn of the 20^th century in the small town of River City, Iowa. He also wrote the entire score which defines all the characters and their attitudes in the score.

Into this small, sleepy, and unfriendly town storms Professor Harold Hill (Hugh Jackman), trying to sell these cold and gullible folks musical instruments and band uniforms for their children. Once he fleeces his sheep, he usually runs out of town with the money and leaves them with no band. In this instance, there is a little hitch by the name of Marian the librarian (Sutton Foster) who is on to Professor Hill’s antics. In turn, one gets to meet all the colorful townspeople and their quirks.

Once you get accustomed to the lingo used—the likes of jokes from Captain Billy’s whiz bag, Sen-Sen, “so’s your old man,” dime novels, libertine men, “scarlet women and shameless music”—and get in step with the proceedings, it becomes a joyride from start to finish.

This revival brings back to life the magic that was Broadway. A musical that has an orchestra pit, an actual visible conductor, and an orchestra playing real instruments that you can hear and feel the music with no prerecorded and overmiked tracks. An actual live orchestra and a stageful of marvelous performers acting, singing, hoofing and giving it their all. What a joy to finally see a revival or any musical with a cast of 42 people filling the stage and each playing their designated role and not have to watch 20 people going in and out of different characters and play chorus members as well.

Hugh Jackman may not be Harold Hill of 1912, but he is certainly Professor Hill for 2022 and hopefully for years to come. His charm and energy are boundless, he sings sublimely, looks divine, and he is a hoofing Harold Hill. What more can you ask of the man?

Sutton Foster gives us a different interpretation of Marian Paroo, the librarian. Unlike any of her predecessors who came off as sweet and ladylike, this young lady takes no guff from any one, stands her ground, and isn’t waiting for a white knight to rescue her. She is in complete control.

The townsfolk are priceless: Marie Mullen as wise Mrs. Paroo is an Irish charmer; Jayne Houdyshell as Mrs. Shin, the Mayor’s wife, is a showstopper with every move and glance. Jefferson Mays as Mayor Shin is perfect at getting flummoxed easily. The quartet of Phillip Boykin, Eddie Korbich, Nicholas Ward and Daniel Torres is impressive, and their harmonizing is a constant delight throughout the show. One will especially fall in love with Benjamin Pajak as Winthrop Paroo; that was the role I was willing to learn an instrument for when I was a kid and wanted to be in the show to play Winthrop.

To my glee, Warren Carlyle has kept the infectious period dances and his excellent dancers of all ages keep in step. Jerry Zaks, usually an expert director on extravaganzas, could have decluttered the sets a bit and instructed Santo Loquasto, the designer, a more realistic vision than just a side of a barn or painted backdrops. These are mere trifles for an evening that explodes with joy and heart; the musical theatre’s cup has runneth over.

Please indulge me in being able to thank my parents for taking me to the theatre at an early age and introducing me to the magic that was Broadway to such an extravaganza as The Music Man. Watching Hugh Jackman and Sutton Foster and the rest of the glorious cast took me back decades to being a small child who wanted to learn the cornet so he could be in a show. I urge parents to take their children to see this glorious version of The Music Man and know what magic Broadway can create if done well, and who knows— maybe someday your kids will thank you, too.

Edited by Scott Harrah
Published February 16, 2022
Reviewed at February 15, 2022 press performance.

‘THE MUSIC MAN’: Hugh Jackman, Sutton Foster & cast. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Hugh Jackman (center) & cast. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Jefferson Mays (center) & cast. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: (left to right) Phillip Boykin, Nicholas Ward, Hugh Jackman, Daniel-Torres & Eddie Korbich. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: The cast. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: The cast. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Shuler Hensley. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Benjamin Pajak & Marie Mullen. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Sutton Foster. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Jayne Houdyshell. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Hugh Jackman & Sutton Foster. Photo: Julieta Cervantes.

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‘KISS ME, KATE’: Kelli O’Hara. Photo: Joan Marcus

KISS ME, KATE
Book by Sam & Bella Spewack
Music & lyrics by Cole Porter
Directed by Scott Ellis
Choreography by Warren Carlyle
Through June 30, 2019
Studio 54
254 West 54th Street
(212-719-1300), www.RoundaboutTheatre.org

By David NouNou

In last year’s revival of My Fair Lady at the Vivian Beaumont, the balance of power shifted from Henry Higgins to Eliza Doolittle. This year Roundabout Theatre Company has chosen to do the same sort of gender-power transference with Kiss Me, Kate, in which Lilli Vanessi/Katherine (Kelli O’Hara) trounces Fred Graham/Petruchio (Will Chase) at every turn and in every scene. Having Ms. O’Hara in the part opposite Will Chase, it becomes an absolute knockout.

Cole Porter wrote one of the most glorious scores of all time for a Broadway musical and the songs are as vibrant as ever. The book by the Spewacks hasn’t weathered as well. Act I sets the story in motion, and for all the wonderful songs in Act II, they do not advance the story line much further; they act more as fillers, which was the case in a lot of musicals at the time.

Set in a Baltimore theater, the show starts with the brilliant “Another Op’nin, Another Show,” which sets the tone and mood of what is about to unfold. Lilli Vanessi has returned to the theater one last time to make her farewell performance in Taming of the Shrew, written, produced and directed by her ex-husband Fred Graham. They were married, very much in love but are currently divorced. The complications begin when Fred has cast his latest flirtation, Lois Lane/Bianca (Christine Cornish Smith) and her one true love Bill Calhoun/Lucentio (Corbin Bleu) to also be in Taming of the Shrew. Trouble ensues when Lili finds about Fred’s extracurricular activity involving Lois.

Due to the shift in power, it isn’t so much as taming of the shrew as getting even with your ex-husband. Kelli O’Hara as the shrew, Katherine, is an absolute revelation. She was a sensation in South Pacific, The Pajama Game and her Tony Award-winning role of Anna in The King and I. Here she has elevated her rank to a prima donna diva. Her voice is stunning and her acting is sublime. Will Chase does a valiant Fred/Petruchio, but the deck is stacked against him. Corbin Bleu as the hoofer Bill Calhoun is sensational. However, the highlight of the night is the opening number in Act II “Too Darn Hot,” set on the rooftop of the theater during their intermission where the dancers come up to cool off but instead end up blowing the roof off the theater.

The other thing to remember is when you see a show being directed by Scott Ellis, you know you are in for a treat. He never disappoints and he always has new tricks up his sleeve. He is rhythmically complemented by the wonderful choreographer, Warren Carlyle, and each of his numbers are absolute eye-poppers.

Wunderbar!

Editor’s Note: Understudy Christine Cornish Smith played the role of Lois Lane/Bianca at the performance reviewed here, substituting for Stephanie Styles.

Edited by Scott Harrah
Published March 21, 2019
Reviewed at March 20, 2019 press performance.

‘KISS ME, KATE’: The cast. Photo: Joan Marcus

‘KISS ME, KATE’: The cast. Photo: Joan Marcus

‘KISS ME, KATE’: Will Chase. Photo: Joan Marcus

‘KISS ME, KATE’: (left to right) Preston Truman Boyd, Stephanie Styles, Corbin Bleu & Justin Prescott. Photo: Joan Marcus

‘KISS ME, KATE’: (left to right) Will Burton, Rick Faugno, Stephanie Styles & Corbin Bleu. Photo: Joan Marcus

‘KISS ME, KATE’: (left to right) John Pankow, Will Chase & Lance Coadie Williams. Photo: Joan Marcus

‘KISS ME, KATE’: Corbin Bleu, Sarah Meahl & Erica Mansfield. Photo: Joan Marcus

‘KISS ME, KATE’: Corbin Bleu & Stephanie Styles. Photo: Joan Marcus

‘KISS ME, KATE’: Kelli O’Hara. Photo: Joan Marcus

‘KISS ME, KATE’: Kelli O’Hara & Will Chase. Photo: Joan Marcus

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‘HELLO, DOLLY!’ Bette Midler & cast. Photo: Julieta Cervantes

HELLO, DOLLY!
Based on the play The Matchmaker by Thornton Wilder
Book by Michael Stewart
Music & lyrics by Jerry Herman
Choreographed by Warren Carlyle
Directed by Jerry Zaks
Sam S. Shubert Theatre
225 West 44th Street
(212) 239-6200, www.HelloDollyOnBroadway.com

By David NouNou

Hello, Dolly! was a glorious, record-breaking musical when it opened in January 1964 and if it is properly done and not chintzed on, it is still an old-fashioned spectacular musical. Dolly is an iconic character in the musical pantheon. So whoever plays her has to be bigger than life. Three women come to mind: Barbra Streisand, Cher and Bette Midler, and who better to play Dolly but Bette Midler because in addition to her singing, she has the comedic chops.

The role of Dolly, the matchmaker who goes to Yonkers to find a suitable wife for Horace Vandergelder, the “half a millionaire,” was originated by Carol Channing. Ms. Channing won a Tony that year, beating out Barbra Streisand for Funny Girl. Although she created this lovable meddling and manipulating character, there was a guilelessness about her that you embraced her for; she was perfection. Many ladies came after her to keep the show thriving through the years: Ginger Rogers, Betty Grable, Martha Raye, Phyllis Diller, Pearl Bailey (probably the best Dolly) and finally ended with Ethel Merman.

Ms. Midler is a fun Dolly; after all she is the Divine Miss M. From start to finish, the crowd cheers and roars at whatever she does. I am sure that there would be lesser-name actresses who can play the part of Dolly more vibrantly and vocally be far superior, but no one can fill a house the way Ms. Midler can. Ms. Midler as I said is a joy to watch, but does she inhabit the role? No. The audience that comes to see her has no yardstick to compare or measure her performance against. They will cheer if she reads the proverbial phonebook. The only comparison that exists is the 1969 movie version with Barbra Streisand. Take your pick. In this case Ms. Midler gives more to the character of Dolly than Ms. Streisand did.

David Hyde Pierce is one of the most beloved actors in show business. He was so great in “Frasier,” which is still in reruns, but here he is not flinty, curmudgeonly, or forceful enough as Horace Vandergelder. He tries hard to imbue that character, but there is a strain. A better flintier actor ironically would have been Kelsey Grammar or John Larroquette.

Believe it or not, the original Cornelius Hackl and Irene Molloy were respectively played by Charles Nelson Reilly and Eileen Brennan. Now they are handsomely played by Gavin Creel and Kate Baldwin. Ms. Baldwin is in superb voice. Kudos should go to director Jerry Zaks, who keeps the proceedings at an ever so lively a pace, so you don’t notice some of the cracks in the book.

Jerry Herman’s score is still sublime and the sets and costumes by Santo Loquasto are exquisite. They are just as good as the original sets and costumes by Oliver Smith and Freddy Whittop who both won Tony Awards. Natasha Katz’s lighting is dazzling as always. An added bonus is that Warren Carlyle has maintained as much of the original choreography by Gower Champion which is both a credit to him and the show. It keeps the show constantly afloat.

When seeing Hello, Dolly, you are really seeing Hello, Bette! You leave the theatre with a big smile and a feeling of satisfaction. What could be better?

Edited by Scott Harrah
Published July 13, 2017

‘HELLO, DOLLY!’ David Hyde Pierce & Bette Midler. Photo: Julieta Cervantes

‘HELLO, DOLLY!’ Bette Midler. Photo: Julieta Cervantes

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‘SHE LOVES ME’: Laura Benanti & Zachary Levi. Photo: Joan Marcus

SHE LOVES ME
Book by Joe Masteroff
Music by Jerry Bock
Lyrics by Sheldon Harnick
Choreography by Warren Carlyle
Directed by Scott Ellis
Through June 12, 2016
Studio 54
254 West 54th Street
(212-719-1300), www.RoundaboutTheatre.org

By David NouNou

An exquisite, delicious bon-bon of a musical.

In October of 1963 when She Loves Me opened, it hardly made a ripple and barely lasted nine months. That was still the era of the super spectacular musicals. Two dynamic divas were waiting in the wings. Carol Channing opened in January 1964 in Hello, Dolly! and Barbra Streisand torpedoed in March as Funny Girl. What chance did poor David have against two Goliaths?

Thanks to the impeccable taste of the Roundabout Theatre and Scott Ellis, who manage to resurrect these lost gems (last year the glorious revival of On the Twentieth Century), they have brought to life She Loves Me for the second time. The first was in 1993, and the current incarnation is even more delectable.

Set in the summer of 1934 Budapest in and around Maraczek’s Parfumerie, David Rockwell’s gorgeous sets transport the viewer to another world where life was gentler and shopping was an actual experience; where people waited on you and said, “Thank you, please come again.” On this particular day in this lovely store, there is a store manager, Georg Nowack (Zachary Levi) and a young lady, Amalia Balash (Laura Benanti) who is applying for a position as a salesgirl. Needless to say, there is an instant dislike and hostility in their relationship. As chance would have it and unbeknownst to either one, both have pen pals named “Dear Friend.” If this plot sounds familiar, it is. It was first done as a movie in 1940 by the name of The Shop Around the Corner and remade in 1998 as You’ve Got Mail, starring Tom Hanks and Meg Ryan.

In this store there are a delightful array of characters: the mantrap, Ilona Ritter (Jane Krakowski), her on again/off again philandering boyfriend, Steven Kodaly (Gavin Creel); the store owner, Mr. Maraczek (Byron Jennings), fellow clerk, Ladislav Sipos (Michael McGrath); and the delivery boy, Arpad Laszlo (Nicholas Barasch). I mention all these characters because they are integral to the story. Back then, they actually wrote songs for all the supporting players and the entire cast have so many moments in which they can shine.

Scott Ellis has polished this gem into a brilliant diamond and set it with an incredible cast. Laura Benanti as Amalia is enchanting. Her soprano voice is reminiscent of Barbara Cook’s (who originated the role of Amalia) and Ms. Benanti’s rendition of “Ice Cream” brings back memories of the great Ms. Cook. Zachary Levi proves he is a masterful musical leading man. He doesn’t rely on just his good looks; he actually is a singing actor.

It’s so great to have Jane Krakowski back on Broadway. She has been in TV land way too long. She is in great voice, with legs to die for and you’ll see why, and gives a much-needed sexiness to Ilona that no other actress has given her. In contrast to Ilona, Kodaly has to be smarmy and debonair, but Gavin Creel plays him slick and lackluster. I’ll insert a factoid here: the only Tony Award Hello, Dolly! lost in 1964 was for best musical supporting actor to Jack Cassidy as Kodaly. No one could do sleazy, smarmy and debonair like the late Mr. Cassidy could and still be loveable. Michael McGrath and Byron Jennings are two Broadway veterans that add humor and class to any show they are in. Nicholas Barasch as Arpad is just bursting with glee.

Other than the title song “She Loves Me” and “Ice Cream,” none of the other songs in this show ever caught on. There are a lot of charming songs for the individual characters, thus they get diluted. However, it is still a delightful score. You would never have known back in 1963 when you were leaving the Eugene O’Neill Theatre after a performance of She Loves Me that the very next year, 1964, Jerry Bock and Sheldon Harnick would introduce the world to not only one of the greatest scores, but to one of the greatest musicals of all time, Fiddler on the Roof. Both shows deal with the foibles, loves and humanity of its people; She Loves Me on a small scale and Fiddler on a universal scale.

Edited by Scott Harrah
Published March 23, 2016
Reviewed at press performance on March 22, 2016

‘SHE LOVES ME’: Gavil Creel & Jane Krakowski. Photo: Joan Marcus

‘SHE LOVES ME’: Gavin Creel & Jane Krakowski. Photo: Joan Marcus

‘SHE LOVES ME’: Gavin Creel & Jane Krakowski. Photo: Joan Marcus

‘SHE LOVES ME’: Laura Benanti & Jane Krakowski. Photo: Joan Marcus

‘SHE LOVES ME’: Zachary Levi & Michael McGrath. Photo: Joan Marcus

‘SHE LOVES ME’: Laura Benanti. Photo: Joan Marcus

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