As the Ralph Freed-Burton Lane song says, “I love a Gershwin tune. How about you?” So a whole show of Gershwin music sounds like absolute heaven to me. That’s what I loved best about Nice Work If You Can Get It, now onstage at MusicalFare Theatre.
This was 10 years coming to WNY, having a short run on Broadway in 2012. Overall reviews weren’t stellar there, but honestly, I don’t know why. It’s a kick of a show with an absolute killer score. MusicalFare put together an outstanding cast and crew that soared above the show’s paper-thin book.
MusicalFare embraced the show’s endearing hokeyness by just playing into it. It was brilliant. The show opens with onstage credit roll crafted to look like a black and white movie opening. Then the set is revealed and it’s perfectly Art Deco. Tone setting complete.
The story revolves around a rich playboy (Marc Sacco) ready to wed to country’s foremost interpreter of modern dance (Emily Yancey) who’s the daughter of a stuffy Senator (Jon May) and the niece of Prohibitionist (Charmagne Chi). When the playboy falls for a bootlegger (Renee Landrigan) who secretly lifts his wallet and is storing hooch in his Long Island mansion’s basement, hijinks ensue.
But who cares about plot when you have the crème de la crème of Gershwin in your ears? Classic songs like “Sweet and Lowdown,” “Let’s Call the Whole Thing Off,” “Fascinating Rhythm,” and “But Not For Me” are woven into the story, propping up the all-too-predictable plot and showcasing the cast’s considerable vocal talents. The real standout for me was Landrigan’s “Someone to Watch Over Me.” Who knew a tomboy bootlegger had that sweet and sensitive side?
Sacco is perfect in his role as playboy Jimmy. He looked and sounded every inch the musical-era screen star, too. He played well against bootlegger John Kaczorowski, as Cookie McGee, not-so-bad-guy bootlegger who pretends to be the mansion’s butler. Bobby Cooke brings the best laughs as the chief of the Long Island Police Department, carefully spelling L.I.P.D. with emphasis. Every time. Nicole Cimato leads the corps de flapper with fringe and style. Chi is the ultimate scene stealer as the Prohibitionist leader of the Society of Dry Women: how she manages to fall on her back and sustain a high belt is beyond me. I loved Pamela Rose Mangus’ second act entrance, but my disappointment is that we didn’t hear her sing in this one.
Chris Kelly got to direct this frothy romp, with a great crew. Chris Cavanagh nailed the set, projection and sound mix. The sisters Drozd – Kari and Susan – created visual perfection with costumes and makeup respectively. Kristy Schupp choreographed some totally fun dance numbers…including real tap dancing, and one ensemble member on point shoes in a ballet sequence. Music director Theresa Quinn led the off-stage quintet in this s’wonderful score. Listen carefully and you’ll catch a few Gershwin riffs that aren’t in the program.
Speaking of program, my one quibble is the digital playbook. I get it. A digital program saves you paper and money. But it also creates a completely annoying situation in the theatre when cyber-savvy patrons ignore the pre-show message to turn off their phones and leave them on to read the song list. Yes, I’m talking to you, lady in Row F and two seats down from me in Row G. But I can’t go all Patti LuPone on y’all because the digital program sets you up for this behavior. Rant over.
Nice Work if You Can Get It is pure fun from start to finish. The music is superb, the visual and aural experience is a feast for eyes and ears, and you have no choice but to leave with a smile on your face. And as the Gershwin song says, “who can ask for anything more?”
The show runs two hours and 15 minutes with a 15-minute intermission, until October 9. Book your tickets at http://www.musicalfare.com.