Enter Laughing—The Musical

Set in the Great Depression, Enter Laughing: The Musical reaches its peak when the hapless young hero, David Kolowitz (played by Josh Grisetti) finally realizes his dream and makes his first appearance as a real, live actor, on a real, live stage. And everything that can conceivably go wrong, does.

For my money, this turns out to be the funniest single scene to be found in any show currently playing on or off Broadway in New York City. Grisetti, the thirteen other members of this show's terrific cast, playwright Joseph Stein, and director Stuart Ross all deserve kudos. If you'd like some good laughs, if you're in the mood for a spirited "musical comedy" (not just a "musical"), head to the York Theatre, and buy tickets if you can. (The night I attended—despite bitterly cold winter weather, despite the recession—the sign saying "This Performance Sold Out" was up at the box office.)

This production is a miraculous achievement. And an achievement of the sort that we have come to expect, every so often, from the York Theatre Company alone in New York. For they have taken an all-but-forgotten flop musical from several decades ago, revised and reworked it, cast and directed it wisely—and somehow created gold. And a show that has been written off for decades suddenly seems fresh and lively. And will surely get lots of productions. Stan Daniels' songs affectionately send up musical-theater songs of a simpler time. Newcomer Grisetti, with puppydog eagerness, makes a likeable lead. Playing the hammy head of a shady acting school, Bob Dishy gives a performance—plummy, authoritative, and a joy to watch—that by itself is worth the price of admission. He's the real thing, and I'd see the show again just to savor his work.

There are nice turns from supporting players, too. Rob Sapp, bright-eyed and earnest, brings a terrific energy to a small role as the leading character's good buddy. Ray DeMattis is utterly believable as his boss in his day job. Marla Schaffel and Emily Shoolin are likeable as the gals in his life. The casting of Jill Eikenberry and Michael Tucker—both familiar faces from the long-running TV series L.A. Law—as the parents of the leading character doesn't work quite as well as one might hope. I bought Eikenberry as the boy's mother. But Tucker—likeable as he was in that TV show—seems out of place in this production. He's a pro, but there is just something about his body language, his way of speaking, that feels utterly contemporary. We're supposed to believe that he's a Jewish immigrant in the Depression who doesn't know his own birthday because no one bothered with things like that in the old country. But there is nothing "old country" about his characterization. He's endearing. But he's not as convincing as he should be, as the Great Depression character he's playing. DeMattis, Sapp, and others have more of an appropriate "period" feel.

The trio led by pianist/arranger Matt Castle (who also gets a moment, acting in the show) sparkles. And cute musical staging by director Stuart Ross fits the tone of the script and songs perfectly. This is a gem of a production. It does not need a bigger stage, bigger cast, or bigger orchestra. This very funny little show feels right at home as is.

(Pictured: Josh Grisetti. Photo by Carol Rossegg)

Chip Deffaa
Cabaret Scenes
January 25, 2009
www.cabaretscenes.org