| . | 04/22/2008
ZIEGFELD’S MIDNIGHT FROLIC OF 2008
By: Rob Lester
The Cast with April 12-13 Guest Star Helen Gallagher
When we think of The Ziegfeld Follies, the mind conjures up opulence, extravagance, huge production numbers, comedy bits, specialty numbers, set pieces, groups of of glamorous ladies in eye-popping costumes….. and swell songs. With Ziegfeld’s Midnight Frolic of 2008, well, we get mostly the songs. There are suggestions and glimpses of---and a nod to—other elements in this revue on the modest-sized stage at The Reprise Room on West 54th Street at Dillon’s, with just a piano for accompaniment. Still, there’s a lot to enjoy, and a world of nostalgia in which to bask.
The show boasts a large cast and each weekend has a veteran performer guesting who does a couple of numbers. The first weekend had Helen Gallagher, the second (which I saw, had Jane Summerhays who was charming and radiated show biz goodwill) and this final weekend (April 26 and 27) will feature Anita Gillette. It’s nice having a range of ages in the cast in this classy show with its tuxedoed men and gowned ladies (plus some character costumes).
By eliminating the comedy sketches and dance numbers without singing, the intermissionless show becomes kind of a non-stop parade of songs with some dances rather than a variety show. It’s kind of a “Ziegfeld’s Greatest Hits” by plucking numbers from the many editions of the old shows from the early decades of the 20th century, choosing many that stood the test of time. Some have become standards and have been interpreted by many performers and others may first and foremost be (still) associated with those who introduced or popularized them in the Follies. Those who know their history have the associations: Fanny Brice with “My Man” and “Second Hand Rose”; Eddie Cantor with “Makin’ Whoopee”; Bob Hope introducing “I Can’t Get Started With You”; Irving Berlin songs like “Mandy,” “Shaking the Blues Away,” and the paean to the ladies, “A Pretty Girl Is Like a Melody.” There are many others, like the moon tunes “By the Light of the Silvery Moon” and “Shine On, Harvest Moon.” They’re all here, done at least respectfully and amiably and sometimes with real panache: “Hello, Frisco, Hello” is a standout where energy, dance, teamwork and humor all combine to make it a major highlight. The show, always pleasant and often classy, comes most fully alive with such a number, making the most of the “hellos” being sung into a telephone used so well as a prop. It’s real show biz razzamatazz.
Several numbers feel a bit anemic or static, crying out for something more: more personality, relish, or sparkle. Sometimes admittedly unrealistic expectations kicked in, and one longs for a Ziegfeldian showman’s touch or something more to look at--- a silvery or harvest moon descending, at few more dancers swirling about (not that there’s room, mind you), or the grand glittery staircase the showgirls descended, draped in furs and jewels (Well, I can dream, can’t I?) Considering that the show doesn’t have a zillion dollar budget, a giant stage, an orchestra or a stable of established superstars, they do quite well entertaining the grateful audience. Mark York at the piano brings much pleasure, and he does bring zing and period punch to the numbers, seemingly a kindred spirit to the flavor of the times. His work and the musical direction of Aaron Gandy makes the old, old music sound fresh and the treatments enhance and support but do not condescend or over-embellish.
There’s some very attractive and charming choreography by David Auxier (who is normally in the company, but was out the day I came), and it has an appropriately old-time feel without at all feeling creaky or bland. (However, sitting up front might be wise since the stage is just a few inches above the floor level where rows of tables are; Dillon’s is a restaurant and your minimum can be applied to food or drinks.) Collette Black as technical director is something of a wizard, making things theatrical but well scaled to the room.
This is an often delightful production – a real banquet of song and the banquet has a really pleasing dessert. Yes, good things come to those who wait, as they pull out all the stops for the finale when the ladies come out one by one in the fanciest of costumes and those feathered headdresses we have all been waiting for. A pretty girl IS like a melody and the melodies are very pretty and the show is pretty good all around.
Featuring Richard Barclay, Scott Gofta, Merrill Grant, Helen Klass, Adrian LiDonni, Rob Lyons, Tony Majewski, Amy Montgomery, Sagan Rose, Lexi Windsor, David Auxier (who is also the choreographer) Suzanne Scott (who is also the producer) with Mark York at the piano (he’s also the executive producer).
Costumes by George Halley, make-up and hair designs by Margret Fiedler, musical direction by Aaron Gandy. Lights and sound by Collette Black.
At The Reprise Room, Dillon’s, 245 West 54th Street, Manhattan
Remaining performances: Saturday, April 26 at 7 pm and Sunday, April 27 at 3 pm. For reservations call 212-751-6688 or e-mail theziegfeldclub@aol.com
To secure your reservation by credit card, go to: http://www.brownpapertickets.com
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