Call me crazy, but in today’s world sometimes it feels good to do something out of one’s ordinary routine. Skydiving anyone? Maybe mountain climbing. Too extreme? Well, here’s a crazy idea that I think suits the bill. Go see Laurel Mill Playhouse’s production of the Gershwin musical Crazy For You. Not only will it take your mind off things (for a couple of hours at least), but it will entertain you, make you laugh, and make you realize where some of the songs that you’ve known for a long time came from (admit it, we’ve all been there).
A romantic comedy musical with book by Ken Ludwig, lyrics by Ira Gershwin, and music by George Gershwin, the production is heavily based on the 1930’s musical of the same name but also incorporates songs from other productions. In the early 1990’s a new and revised version was produced with Mr. Ludwig being engaged to write the book (one will detect notes of his comedic genius throughout) and famed Broadway choreographer Susan Stroman tapped for the fancy footwork. The new show that emerged won the 1992 Tony Award (Broadway), the 1993 Olivier Award (London) and the 1994 Dora Award (Toronto) for Best Musical.
Director Alex Campbell is no stranger to musicals, and he brings his years of experience to this updated old time classic. Mr. Campbell cast the show full of young, talented people and coaxes the best out of them while keeping true to the production. Tempo and pacing are right on cue, and he knows just where to accent the gags, punctuate the pathos and ensure that the audience has a good time. Mr. Campbell also designed the set. Set design can be tricky in such an intimate space yet is quite effective in this production. Starting out as a bare stage, the tables, chairs and well-constructed set pieces (car, bar, saloon doors, etc…) are placed and stricken by the actors as well as an efficient running crew throughout the show and it works.
Musical Director (and live pianist) Mimi McGinniss coaches the best out of the cast of 14, with solos that will leave you smiling and harmonies as sensual as a warm summer breeze. Oftentimes there is an issue in musicals where balance between the vocals and music becomes tricky, but not here. The music is sufficiently loud but does not outshine the lyrics. You can hear everything.
Choreography can be a bit of a challenge, especially in such a heavy dance show such as this, but I tip my hat to Choreographer Summer Moore and Assistant Choreographer Ade Babayemi for coming up with original choreography. From lazy dance waltzes to rousing tap numbers that will get your feet tapping in your seats, these two have put together several dance routines that are perfectly married to the songs and are a joy to watch.
OK, now let’s get down to serious business. The cast. Or, should I say, the crazy good cast. I am totally crazy over this group (OK, I’ll leave off the crazy until the end), and for good reason. This production is full of talented young people and they are obviously having a blast. When you’re having a good time on stage it shows, the energy is contagious, and the audience has a good time. They have a great treasure trove to work with. A score of old-time songs, some fantastically farcical bits courtesy of Mr. Ludwig, and some dance routines that, when woven together by the skilled Mr. Campbell, are cause for celebration.
Heading up the cast is Bobby Child (played by Lucas White) and Polly Baker (played by Makayla Davis). This couple’s relationship forms the basis of the new production, and these two are powerhouses of talent. White channels his innermost stage actor wannabe character and balances it with a love interest that conflicts with his current engagement. Add in a nagging mother and you get quite a complex guy who tries his best to do the right thing, even if how he goes about it might at times be questionable. But boy does it make for some good comedy. White’s voice is deep and melodic, while he busts quite the move on the dance floor. And can he tap! Davis is quite simply superb. Her character is also complex, a midwestern gal trying desperately to save the family theatre yet yearning for love in the sleepy town of Deadrock. She has some heart wrenching solos that she belts out with a voice that is enchantingly rich and handles her duets (some of which while dancing) with smooth syncopation. One can feel her anguish, joy and playfully romantic side, depending on the scene/number and, well, I could just sit there and listen to her sing the phone book. She’s that good.
Rounding out the rest of the cast are some wonderfully wacky characters brought to life by a team of actors that bring some much-needed comic relief as well as plot advancement.
Theatre tycoon Bela Zangler (played by Davis Wootton-Klebanoff) is as eccentric as his accent. An unhappily married man (his answer when asked how his wife is doing…”In excellent health…unfortunately”), he yearns for the attentions of Tess, one of the dancers. Yet we see in Act 2 that Zangler has a heart as much as he is girl crazy, as he uses his own money to save the Deadrock theatre at the expense of his own back in New York, even if it is a favor to Tess. Regardless of his intentions, Wootton-Klebanoff’s Zangler is a mélange of many different attributes all wrapped up in an outlandishly funny accent.
Bobby’s fiancée Irene Roth (played by Kaylee McDonald) is your typical uptight, high strung, New York entitled rich girl. Consumed by her wedding plans (900 guests as of now anyone?), which she hopes will be soon, she banters with Bobby’s insufferable mother and entreats Bobby to man-up and marry her already. But where McDonald truly shines is in the number “Naughty Baby” where we get to see Roth’s true innermost self as she playfully and sexily seduces the character of Lank Hawkins (played by Vijay Dev). Hawkins is the saloon owner, in love with Polly, and dead set against these New York high rollers rolling into his tired town and trying to save the theatre (he wants the theatre space to expand his saloon). Full of muster and bluster, Dev yells and shouts his way through the show, expressing his displeasure at everyone and anything that he doesn’t like. But all that hot air goes south when confronted by McDonald’s Irene. This number is cause for a gaggle of giggle with song, well executed choreography, and maybe a bit of bondage tossed in for good measure. It’s worth going to see the show for this number alone.
Polly’s father Everett Baker (played by Chevell Thomas) provides fodder for laughter as well throughout the show. Yearning for the theatre to return to its former state of glory, he waxes whimsically (and often) of his late wife (Polly’s mother) singing on stage to an audience of drunken miners back in the theatre’s heyday. But no one better talk down to him lest they receive the wrath of protective daughter Polly! Thomas also plays the bartender at the saloon, and his interplay with sliding drinks to the parched Bobby is pretty darn funny.
Child’s mother (played by Jessica Long) is also a creature of the New York lifestyle. Entreating her son to marry only whom she approves of, she yearns for him to enter the family’s banking business, making her wishes known as orders versus requests. Never does she ask Bobby want he wants, just tries to mold him into something she wants. This Mommie Dearest argues with anyone and everyone whom she doesn’t like. But can she be tamed? Will Mother meet her match in Deadrock? Go see the show & find out.
Long also doubles as Patricia Fodor, one of the British duo who comes to Deadrock to write a tour guidebook. The other part of this duo is Eugene Fodor (played by Marianne Virnelson who also plays the characters of Perkins & the Chauffeur). Virnelson is also no stranger to comedy, and she and Long make for some funny moments as the Brits who try & get the townsfolks to keep a “stiff upper lip”.
Good things come in threes, and that holds true in so many ways for the final two groups of 3 that round out the cast.
The singers are comprised of Tess (Marela Kay Minosa), Patsy (Natolya Barber) and Mitzi (Aubrey Anderson). These three lovely ladies have dancing in their blood. They sing like angels as well and carry many of the show’s numbers. Minosa’s Tess is loyal to Zangler but disapproves of his advances…at first. Once she realizes that without his help the theatre in Deadrock is doomed to failure, she goes along with Zangler, accepting his affections conditionally on him helping. Later, she realizes that he may not be so bad after all, and her change from the beginning of the show to the end is inspiring to watch. Barber is a standout. Let me say that again. Barber is a standout. Not in the least an affront to the others, but her dancing and facial expressions are precision perfect, and I wouldn’t be surprised at all if someone told me she danced professionally. She simply is lovely to watch. Anderson, also a great dancer, has a high soprano range that she uses to full advantage. Most assuredly the lead soprano in the group, one can pick out when she hits that last high note in a song, never missing a beat. Clear, sonorous and pitch perfect, Anderson’s vocals just make the numbers.
Hot cowboys anyone? The final 3 characters to note are the cowboys of Deadrock. Namely, Sam (Joseph Downs), Moose (Ryan New) and Minge (Garrett Crouch). From the moment we see them saunter on to the stage (“Bidin’ My Time”) to a sleepy, low-key ballad that serves to signify what life is like in the once vibrant town, little do we know how instrumental they will be as the show moves along. Sometimes they are like “The 3 Stooges meet The Wild West”; at other times they are dancing dudes (there is a great number when they are “taught” to dance and go from clumsy to acrobatic in virtually no time). They are onstage for much of the show as well, and these guys in their flannel shirts with rolled up sleeves, jeans, cowboy boots and Stetsons do not disappoint with their comedy, dancing chops and endearing mannerism as the sleepy cowboys of the town who come alive upon the arrival of the girls and being caught up in the magic of theatre.
So, for a fun night out, come bask in a show of bygone times. Listen to classics such as “Embraceable You” and “I Got Rhythm”, among others. Spend a little time with the good people of Deadrock and see for yourself why this musical won the Tony back in 1992. After all, you’d be crazy not to go!
Running Time: 2 hours and 30 minutes with one intermission
Crazy For You plays through October 27th 2024 at Laurel Mill Playhouse— in the heart of historic Laurel at 508 Main Street in Laurel, MD. Tickets should be purchased in advance (though walk-ins are welcome!) and are available by calling the box office at 301-617-9906 or through the ticketing website online.
