Something for students of Sondheim. Something for lovers of shtick. Something for supporters of South Florida
theatre. “Something for everyone – a comedy
tonight!” MNM theatre company knocks A Funny Thing Happened on the Way to the Forum
out of the Coliseum at the Rinker Playhouse, part of the Kravis complex.
It is thought of as Sondheim’s first musical for which he
wrote both the lyrics and the music. It
is and it isn’t. His first such attempt, Saturday Night, was written eight
years earlier, but it never made it to Broadway at the time (although that was
where it was headed) as the Producer suddenly died and the bankroll evaporated. It reflected his youth of being only 22, a
traditional musical, so unlike his later innovative works. Still, the unproduced musical put him on the
radar scope and he was soon sought out as a lyricist, with such shows as West Side Story and Gypsy.
Sondheim however wanted to be a composer-lyricist; thus, indeed,
A Funny Thing Happened on the Way to the
Forum IS his first Broadway credit in both capacities. For any Sondheim fan, it is a must see musical
for that reason alone. It clearly
reflects his genius as a wordsmith, although one can also detect his unique
musical gift incubating, particularly in the duets. And it is the lyrics and “the book” by Burt
Shevelove and Larry Gelbart (of M*A*S*H fame) that made, and continues to make
this early Sondheim work a success. It unfolds at a hilarious frenetic pace and
it immediately grabs the audience’s attention with “Comedy Tonight."
The mad cap farce involves a conniving Roman slave (Pseudolus)
who wants his freedom while his master (Hero) wants the virginal girl next door
(Philia), and so the slave concocts a plan to achieve his master’s desire IF he
will give him his freedom. Sounds pretty
straightforward except every complication known to vaudevillian theatre is
thrown in the way.
So, kudos to MNM Productions for bringing Sondheim’s
vintage, formative work to the Rinker Playhouse. MNM’s mission is to “showcase talented
Florida-based actors, Equity and non-Equity alike, live musicians and a
top-notch crew of designers and technicians.”
With this show, mission accomplished! It is a professional production in
every way, particularly due to the talented cast whose voices soared in the ensemble
musical numbers.
Johnbarry Green who we have seen perform locally at the
Maltz and at Palm Beach Dramaworks, plays the iconic part of Pseudolus (Sondheim originally thought of the fast
talking Phil Silvers when he was writing it, but it was Zero Mostel who first
played the part on stage and in the movie so it is he who is traditionally identified
as Pseudolus). It’s a tall order and the
entire production depends on Green’s ability to successfully pull off this buffoonish
role and sing and dance and basically knock himself out for 2-1/2 hours. Within minutes he has the audience laughing
so that possible hurdle is comfortably cleared.
In fact, throughout the performance Green shows his comic physicality
and even had to ad lib on stage when he almost fell off a bench, turning to the
audience who drew in its breath in anticipation, saying “It’s OK, don’t worry!!”
not missing a beat. Only live theatre
can convey such a special moment.
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Johnbarry Green as Pseudolus and Michael Scott Ross as
Hysterium
Photo credit: Amy
Pasquantonio
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Green is all over the stage throughout the production, just
one of the many details of the show’s complex choreography so seamlessly arranged
by Laura Plyler. But in Johnbarry Green’s
performance, “a star is born.” He has
all the acting and comic chops and a rousing voice that enhances his
performance.
J Savage plays Hero the young master who is so naively
induced into Pseudolus’ increasingly complicated scheme with wide eyed wonder
of innocence, his heart set on having the virginal Philia who was entrancingly played
by the beautiful Meg Frost.
Hero’s father and mother were skillfully performed by Troy
Stanley as the lecherous Senex, clearly carrying the burden of being the
henpecked husband of Domina who Aaron Bower plays up as a shrew to be
feared. The pivotal role Hysterium is
truly hysterically acted by Michael Scott Ross.
He is not on the stage for a moment without a laugh. Terry Hardcastle
plays the owner of the house of courtesans, Marcus Lycus, who is willing to
agree to any of Pseudolus’ plans as long has he is not in jeopardy. The character Erronius is condemned to wander
around the stage most of the night looking for his children who were stolen as
infants by pirates. Paul Thompson’s
portrayal of the old man received greater laughs after each turn around the 7
hills surrounding Rome. And his plight is part of the show’s resolution.
Another star in the show bursts forth near the end of the
first act, the arrival of Miles Gloriosus, a Roman Captain who has a claim on
Phila (part of the plot’s complication).
Miles is indeed gloriously played by Sean William Davis. (Think of the bravado of Lancelot singing “C'est
Moi" in Camelot.). Davis just oozes Majesty and sex appeal on
stage, while his voice is clear and powerful.
Yet he, too, is duped by Pseudolus.
The courtesans – “Tintinabula,
Panacea, Geminae Twins, Vibrata, and Gymnasia” – are so amusingly and seductively
played as their namesakes by Meredith Pughe, Alexandra Van Hasselt. Victoria
Joleen Anderson, Alexandra Dow, Lauren Cluett, and Ashley Rubin respectively,
while ”The Proteans” who are called upon by the characters to play different
roles to move the comedic plot along are entertainingly and sometimes acrobatically
played by Stephen Eisenwasser, Frank Francisco, and Elijah Pearson-Martinez.
This classic production is under the capable directorial
hand of Jonathan Van Dyke who also coordinated the costumes and a special
mention should be made of the original set design by Cindi Taylor and superb
wigs by Justin Lore. Lighting Designer
is Rachel Weis. Sound Engineer Vincent Bryant’s work excelled: rarely have we
been at a performance where every word can be clearly heard, whether said or
sung, so important in this production. Even James Danford came out of retirement
briefly to serve as Stage Manager, no small feat in this show. Paul Reekie
serves as a musical director of a band of six which in the intimate Rinker Playhouse
sounds like a full Broadway orchestra.
I mention all these names as they are South Florida
actors and theatre technicians who deserve our support, especially as together
they created a “pretty little masterpiece” (as sung by Pseudolus in the song “Pretty
Little Picture”).
