Promises, Promises

Promises, Promises.  Sometimes we expect too much from promises. The first revival of this 1968 hit musical at the Broadway Theatre offers many promises. There is the score with the creative beat of Burt Bacharach and catchy lyrics of Hal David score. The star power is intriguing, with television’s Sean Hayes (Will and Grace) and theater’s chirpy eternal ingénue, Kristin Chenoweth (Wicked).  The book was adapted by Neil Simon from the popular Billy Wilder and I.A.L. Diamond film, The Apartment, suggesting a heart-tugging yet humorous story. With Rob Ashford’s direction and choreography, Promises, Promises should sail through with fun and effervescence. Yet, despite the current ’60s popularity, Promises, Promises does not quite fulfill its hopes. What gives life to the drama and office high jinks of those Mad Men days is dated and silly in the 2010 revival of Promises, Promises. Rob Ashford’s onslaught of frenetic dance numbers leads to a clumsy stop-and-go pace. The Bacharach melodies are nostalgic, but their punchy musical uniqueness occasionally levels into mellow pop mode. For some reason, two Bacharach/David hit tunes are added, "A House Is Not a Home," and "I Say a Little Prayer." They do not add to the story.

The plot deals with big business hanky-panky in 1962.  Philandering bigwig J. D. Sheldrake (Tony Goldwyn) and some cronies at Consolidated Life Insurance share a special key to a private bachelor pad. Each executive uses the apartment one evening a week for his personal extramarital dalliances. Sheldrake’s liaison is with lovelorn executive dining room waitress, Fran Kubelik (Kristin Chenoweth).

The apartment belongs to Chuck (C.C.) Baxter (Sean Hayes), a mild-mannered, long-suffering, low-level worker who is hoping his largesse will lead to a promotion out of the office pool. Problems arise when Chuck also falls for Fran, unaware that she is Sheldrake’s weekly assignation. Fran, meanwhile, is a simple girl, wanting a home and family. During one rendezvous, Sheldrake does her wrong and she overdoses on sleeping pills.

Kristin Chenoweth is, unfortunately, miscast in this play, never evoking the integral pathos of Fran Kubelik. She is a talented vocalist and actress who sings beautifully but her natural ebullience is tamped down and the more upbeat songs lose energy. The one touching moment in her character's sad life comes when she and Chuck duet with “I’ll Never Fall in Love Again.”

The show rides on the shoulders of Sean Hayes, who portrays a charming Chuck, with a pleasant singing voice, acceptable hoofing moves and strong comic timing. His talents are brought to a peak in one standout scene in the second act: Drowning his sorrows in a local saloon, he meets Marge MacDougall, played with smashing humor by Katie Finneran.  If there is a showstopper, and there is, it’s these two sharing their physical comic vitality with "A Fact Can Be a Beautiful Thing."

Dick Latessa is effectively disapproving — yet slightly jealous — as the hassled neighbor, Dr. Dreyfuss, called in to care for Fran’s overdose. Tony Goldwyn is slickly despicable as Sheldrake, as is Brooks Ashmanskas as another executive philanderer.

The 1960s look is suggested by Scott Pask’s set, Bruce Pask’s costumes, and Tom Watson's teased wigs — but most anticipated promises are not fulfilled in this revival.  Applause, applause, however, for Sean Hayes, a promising Broadway performer.

(Pictured: Katie Finneran and Sean Hayes.)

Elizabeth Ahlfors
Cabaret Scenes
April 29, 2010
www.cabaretscenes.org