After five years, Gerard Alessandrini – long celebrated for his Forbidden Broadway work (for him is it more like play?) – sashays back with a new edition. So, what of the eagerly awaited Merrily We Stole a Song? The result might as easily be dubbed Scarily the Goal Veers Wrong or Warily the LOL Not Long. But it also could be designated Verily Each Role Played Strong.
In a program note, the impresario acknowledges the quality he’s counted on from performers over the 42 FB years. This year he has two high-class vets – Jenny Lee Stern and Chris Collins-Pisano – and two glowing newbies – Danny Hayward and Nicole Vanessa Ortiz – working their four talented tails off. Indeed, due to the constant fast costume changes (Dustin Cross, the inspired designer), they may be toiling harder backstage than on, if such a thing is possible. Since 1982, the inaugural Forbidden Broadway, Fred Barton has been at the solo piano, and he’s still plunking pungently.
The repeatedly astounding Stern begins her tireless duties as an usher berating an obstreperous audience member (Collins-Pisano) in “Sit Down You’re Blocking the Aisle.” The idea behind the opener is highlighting the rude behavior of today’s theatergoers. In other words, Alessandrini, who directs with his own brand of panache, begins smartly.
Among other numbers hitting their mark squarely, or squarely enough, is his drubbing of the Cabaret revival, particularly the jabbing at Gayle Rankin’s interpretation — under Rebecca Frecknall’s direction – with the lyric line, “What good is playing this role the ol’ way…” No good, as it turns out. Hayward’s take on Eddie Redmayne’s off-putting contortions as the Emcee is an added hoot.
Immediately following, Ortiz bites into “Sore,” a rewrite of the song “Roar,” which has the supposedly demure 14-year-old Juliet of & Juliet belting like a mic-less Ethel Merman. In another direct hit, “Great Gatsby for Dummies” – which confronts today’s Great White Way shredding of the F. Scott Fitzgerald classic – Alessandrini mocks the outcome by having Jordan as the arriviste protagonist threaten, “The Great Gatsby is public domain now. We can destroy it any way we want!”
How do the wanton adaptation creators go about their destruction campaign? They lop off the final, devastating Fitzgerald disclosure about Gatsby and his careless associates. Snip, snip, gone. Alessandrini gives ’em hell for it.
As the 28-number revue speeds on with wigs aflyin’ (Ian Joseph nicely responsible for that), a few more musical sketches click. Stern – who not only impersonates vocal tics but does some choreographic tricks (Jerry McIntyre credited) – nails Bernadette Peters and, even more mouth-distortingly, Patti LuPone. Ortiz has vocal fun with many-Tonyed soprano Audra McDonald coming soon in Gypsy. Ortiz has the power to do so.
Of the remaining offerings, there are several inclusions that induce head-scratching. Alessandrini is obviously obligated to wrangle with recent seasons – and personnel gracing them – but what is he getting at with Daniel Radcliffe? Somewhat unfairly, he suggests the then-and-forever Harry Potter was only stalking the Tony he now has.
Alessandrini does focus his “Oh, Mary Todd!” on the season’s (so far) red-hot discovery, Cole Escola, but the momentary pairing of his boozehound first lady with Suffs bookwriter-composer/lyricist-star Shaina Taub fails to suggest anything. Maybe he’s attempting to trigger a chuckle on women in United States history. If so, it doesn’t land. In the most extraneous piece, “Lincoln Center,” all four cast members hustle themselves into formal attire, their noses snootily tilted as they honor the venerable, uppity(?) enclave. Huh? How dated an LCT take is that? Or is this a nostalgic revival outing?
Since this is Alessandrini’s first go since Stephen Sondheim’s death, does he, who has frequently kidded the hagiographic theater icon, go on the, uh, offensive? You betcha. During one part of his leering bow, Stern, sporting a scrawny beard, appears as the young Sondheim at the time he was Oscar Hammerstein’s excitable mentee. Is any of this genuinely amusing? Not particularly.
Though the percentage of effective material seems outdone by the percentage of less than par material, much of it sparkles, all the same. That’s because Stern, Hayward, Collins-Pisano, and Ortiz are so prodigiously accomplished at what they bring start to finish that this Merrily We Stole a Song finishes as Airily They Control the Throng.
Forbidden Broadway: Merrily We Stole a Song opened September 19, 2024, at Theater 555. Tickets and information: theater555.venuetix.com
