Cabaret Scenes Theatre Review

With its richly inventive score and witty—and at times unexpectedly moving—script, On the Town offers rewards aplenty. So strong is the material created by Leonard Bernstein (music) and Betty Comden & Adolph Green (book and lyrics) that even a barely adequate production—like the current one at Paper Mill Playhouse—is worth seeing. But this classic 1944 musical deserves much better treatment.

I winced watching the carelessly executed dancing to the show's best-known number, "New York, New York." I've seen dances with much greater unity, precision, flair and élan at Juilliard School recitals.

There were two standout performances in this production. Seasoned pro Harriet Harris' comic timing is so marvelous, she only makes it more obvious how amateurish most of the other acting is. Her all-too-brief appearances as vocal teacher Madame Dilly represent character-actor clowning at its best. (It's worth the price of admission just to see what she makes of her small part; someone should be writing a show for her to star in.) And Jennifer Cody, as the man-hungry taxi driver, Hildy, is a delight: her confidence, presence, and vivacity add life. She's not just reading funny lines; she IS funny in everything she does. I look forward to seeing more of her.

But there is a generic quality to much of the other work. We are seeing pleasant sailors and gals, rather than distinctive characterizations. The three actors playing the three different sailors could probably switch parts without it making much difference to the production; it should not be this way. Director Bill Berry has not cast most of this show particularly well, nor gotten more than bland approximations of characterizations. I'm not sure if he "gets" this musical. It requires a lot of attention to specific details.

I've seen this show many different times over the years. In this production, there are simply too many laughs being missed and emotions not being plumbed. When I reviewed George C. Wolfe's far more magical revival in its Central Park tryout (New York Post, August 18, 1997), it was immediately obvious that he'd found performers to watch, who impressed as individuals and had real chemistry together. Most of the performances in this production are merely pleasant. I simply expect more from Paper Mill, whose best productions (think of, say, Gypsy or Follies) are as good or better than you'd find on Broadway.

An audience has to connect with the individuals in this show, to share in their joys—and experience real heartbreak in their parting. The song "Some Other Time" should bring tears. But this casual, at times indifferently executed, production of On the Town sometimes managed to bore me. I'd scarcely thought that would even be possible. This is such a wonderful show, it needs more than a by-the-numbers presentation. On the bright side, Walt Spangler's sets were a visual treat throughout. (And I loved the runway that wrapped around the orchestra pit.) The sumptuous orchestra, directed by Tom Helm, certainly did justice to Bernstein's sophisticated music But this is such a terrific—and unusual—musical; it's frustrating to see it treated so casually.

(Pictured: effrey Schecter; Tyler Hanes; Brian Shepard; Photo by Jerry Dalia)

Chip Deffaa
Cabaret Scenes
November 15, 2009
www.cabaretscenes.org



	On the Town Paper Mill Playhouse Millburn, NJ
With its richly inventive score and witty—and at times unexpectedly moving—script, On the Town offers rewards aplenty. So strong is the material created by Leonard Bernstein (music) and Betty Comden & Adolph Green (book and lyrics) that even a barely adequate production—like the current one at Paper Mill Playhouse—is worth seeing. But this classic 1944 musical deserves much better treatment. I winced watching the carelessly executed dancing to the show's best-known number, "New York, New York." I've seen dances with much greater unity, precision, flair and élan at Juilliard School recitals. There were two standout performances in this production. Seasoned pro Harriet Harris' comic timing is so marvelous, she only makes it more obvious how amateurish most of the other acting is. Her all-too-brief appearances as vocal teacher Madame Dilly represent character-actor clowning at its best. (It's worth the price of admission just to see what she makes of her small part; someone should be writing a show for her to star in.) And Jennifer Cody, as the man-hungry taxi driver, Hildy, is a delight: her confidence, presence, and vivacity add life. She's not just reading funny lines; she IS funny in everything she does. I look forward to seeing more of her. But there is a generic quality to much of the other work. We are seeing pleasant sailors and gals, rather than distinctive characterizations. The three actors playing the three different sailors could probably switch parts without it making much difference to the production; it should not be this way. Director Bill Berry has not cast most of this show particularly well, nor gotten more than bland approximations of characterizations. I'm not sure if he "gets" this musical. It requires a lot of attention to specific details. I've seen this show many different times over the years. In this production, there are simply too many laughs being missed and emotions not being plumbed. When I reviewed George C. Wolfe's far more magical revival in its Central Park tryout (New York Post, August 18, 1997), it was immediately obvious that he'd found performers to watch, who impressed as individuals and had real chemistry together. Most of the performances in this production are merely pleasant. I simply expect more from Paper Mill, whose best productions (think of, say, Gypsy or Follies) are as good or better than you'd find on Broadway. An audience has to connect with the individuals in this show, to share in their joys—and experience real heartbreak in their parting. The song "Some Other Time" should bring tears. But this casual, at times indifferently executed, production of On the Town sometimes managed to bore me. I'd scarcely thought that would even be possible. This is such a wonderful show, it needs more than a by-the-numbers presentation. On the bright side, Walt Spangler's sets were a visual treat throughout. (And I loved the runway that wrapped around the orchestra pit.) The sumptuous orchestra, directed by Tom Helm, certainly did justice to Bernstein's sophisticated music But this is such a terrific—and unusual—musical; it's frustrating to see it treated so casually. (Pictured: effrey Schecter; Tyler Hanes; Brian Shepard; Photo by Jerry Dalia) Chip Deffaa Cabaret Scenes November 15, 2009 www.cabaretscenes.org

On the Town

Paper Mill PlayhouseMillburn, NJ

Paper Mill Playhouse
Millburn, NJ