Hits: 0
WPCNR STAGE DOOR. By John F. Bailey. February 18, 2005. Now with Production Stills: Mr. and Mrs. Westchester and the most honorable press traveled back in time Thursday evening in a most delightful way with Westchester Broadway Theatre. The longest running theatre in New York State staged its new production of Bye Bye Birdie, the Edward Padula beginner’s luck musical of 1960 that launched Dick Van Dyke as a star, and created the model for the Dick Van Dyke Show.
Conrad Birdie (Todd DuBail) in Gold Lame, and cast wave good bye at Bye Bye Birdie revival at Westchester Broadway Theatre Thursday evening. The show returns you to that once and forlornly innocent time, the 1950s, when secretaries fell in love with their bosses, when going steady was “forever,” and when you were a teenage girl you couldn’t wait to be 15, because it meant you could stay out past 10 P.M., and you spent hours on the telephone instead of the cellphone. Photo by WPCNR StageCam.
WBT’s Choreographer Peggy Taphorn revives the Tony-winning Gower Champion innovative (at-the-time) choreography with flare and energy on WBT’s theatre in the square. Donald Birely’s direction spoofs the teens of that once and glorious time, and revives the icons: The Father Knows Best Dad and Mom and Little Brother, with great timing, smooth gag delivery, and guffaw-producing slapstick, showing a fine tuning finesse for the attitudes in this shall-we-say-classic?
Theatre Goers Enjoy the Event Flavor of the WBT created by personable emcee Steve Calleran. Photo by WPCNR StageCam
Organizing the traffic masterfully, Birely executes Birdie brightly with earnest, engaging funny performances of Shelley Fabares/Elinor Donohue act-alike Julie Craig as the lucky Conrad Birdie Fan Club member selected to give Conrad – the teen idol of the age his “last kiss;” a nervous agent/adman Jim Walton in the Van Dyke role as Birdie’s mother-conscious agent, Albert Peterson. The dead solid perfect sendup of Elvis Presley by the sullen, husky heart-throb Todd DuBail, who has 1957 attitude down having played Danny Zuko(Grease) and Chuck Cranston (Footloose) at WBT.
Jim Walton as Albert Pearson with Deborah Leamy as Rose Alvarez performing Rosie. Photo by John Vecchiolla, Courtesy, Westchester Broadway Theatre.
But the show is stolen by Deborah Leamy’s portrayal of the sophisticated “career woman” of the 1950s. You know the one who runs the office suggests the solutions to the boss’s problems and will do anything for him? My father had one, probably your father did too, if you grew up in the 1950s.
Deborah Leamy gives the short course on the career woman personna 1950s young ladies “who went to business” faced: They never dreamed of a managerial job, but they helped the man they work for become a success and kept him going, going, going with their ideas, hoping for marriage.
The leggy Leamy (who has the moves to handle the Roxie role in Chicago which she performed at the Macau International Music Festival recently), spends the entire 2 hour show in 4 inch black high heels, belts the role Chita Rivera created, giving it flare, spunk, drive and an Kay Ballard comic punch.
She is no-nonsense, delivers commanding competence and sexy appeal to fiesty Rose Alverez, while appearing endearing, sympathetic and believable, sexy and a lady all at once. (Did I write sexy in the same paragraph three times? I did. Where is an editor when you need one.)
Ms. Leamy really shakes a tail feather in her sequence at Maude’s Roadside Bar, entertaining The Shriners after deciding she is through with Mr. Peterson.
Peterson is distracted by Gloria Rasputin, a gum-smacking broad played by the show’s choreographer, Ms. Taphorn (what a name for a choreographer) who shows the cast how the split is done. Ms. Leamy’s strutting, posturing and vamping is done with confidence, perfect timing and elegance.
Leamy’s Rose is Peterson’s long-suffering secretary who has waited eight years for him to break the news to his mother that he is in love with his Spanish secretary. The show has Ms. Leamy sending up a great number of Spanish stereotypes that may be offensive in this day of political correctness, but in the 1950s was not even thought about twice. A word: Birdie is a dated show but it is great sociology on stage.
The musical’s other running joke is the stereotypical Jewish mother-in-law who hounds her son Peterson with her feel-sorry-for-herself laments, which despite being old, still draw the laughs.
It’s Highlight Time.
The Westchester Broadway Theatre always stages a complete show. There are no poor actors, no-undelivered parts. Birdie proves that again with the flawless demeanor of Jim Madden as Kim Macaffee’s father, who has some of the great lines. Mr. Madden and Roxie Lucas as Mrs. MacAffee hoof it the light impressive singing the classic, “Kids.”(What’s the matter with kids today.) Mr. Madden has another moment of zen in this show with his rendition of the hysterical hymn to Ed Sullivan. (You have to be there.)
The Sweet Apple, Ohio Kids performing The Telephone Hour. Photo by John Vecchiolla. Courtesy, Westchester Broadway Theatre.
When Gower Champion staged the “Telephone Hour,” (in Scene 2 of Act I, according to the liner notes for this show), it was a total innovation that Laugh-In would steal short years later for their Joke Wall. To see all the teenage girls talking on phones is still an entertaining bit and those 50-year old teenage girls out there will remember those days. This is one of the bright WBT “ensembles,” who gossip the way girls did back then and still do today only they do it on cellphones.
Julie Craig charms us in the “no navel piercing era” portrayal of teenage girlhood, as Kim MacAfee, singing How Lovely to be a Woman, and follows that up with a contrapuntal duet with Ms. Leamy, What Did I Ever See in Him? at the front of Act II.
When the show begins, Kim MacAffee has just gotten pinned to her high school sweetheart as the show begins and is feeling very grown up.
Meanwhile, back in New York, with Peterson facing bankruptcy because Conrad has just been drafted, Rose dreams up the promotion of Conrad making a hit record called The Last Kiss to bail her boss out of debt. Albert calls teenager Kim MacAfee at random to be the fan club member to receive Conrad Birdie’s last kiss on The Ed Sullivan Show, to be televised live from Sweet Apple, Ohio’s own theatre. Kim is thrilled and torn between her steady and her loyalty to Conrad.
Julie Craig as Kim MacAffee with Todd DuBail as Conrad Birdie & Company performing A Lot of Livin’ To Do. Photo by John Vecchiolla. Courtesy, Westchester Broadway Theatre.
In a scene right out of any Mayor Delfino White Plains opening, Bill Bateman as the Mayor of Sweet Apple welcomes Conrad Birdie on a reviewing stand. When Birdie sings “Honestly Sincere,” the show stages its funniest scene with sequenced swoons that make the same gag, score laughs again and again.
Todd DuBail saunters the Elvis saunter, (originally played by Dick Shawn) slicks back the slick pompadour, points the hand gestures and with each hysterical faint he causes, the audience laughs, remembers and digs themselves. Musically, the DuBail Honestly Sincere number is a clever satire of the Presley style, reminiscent of Playing for Keeps, and I Want You, I Need You I Love You. DuBail delivers plenty of sullen phrasings and that voice we remember well – the Voice of “The King.”
DuBail’s second smash number is his singing of The Last Kiss on The Ed Sullivan Show towards the close of the last act. DuBail’s uptempo version of this rock ‘n’ roll satire, emulates the style of Don’t Be Cruel, Treat Me Nice, and All Shook Up. In both Conrad Birdie numbers the live orchestra under the direction of Cherie Rosen captures the base and beat and rhythm of the cliché Elvis sound way cool.
However, Mr. Peterson’s mother, played with comic acidity by Ruth Gottschall, arrives to derail the Rose and Albert Peterson romance with a redhead Ms. Gottschall meets on the train.
A Really Big Shew
The excitement of the old Sullivan show is recreated at the end of the first act in a thoroughly enjoyable sequence that goes array. (It’s even complete with flashing APPLAUSE sign, and camera crews and stage directors who act completely in character.) I love the way WBT pays attention to these details and on-stage interaction of peripheral characters.
Act II solves the denouements of the teenager’s romance and the romance on the rocks of Rose and Albert. Ms. Leamy is a virtuoso as comic actress, dancer and singer with the entertainingly bumbling Mr. Madden as Peterson. They duet cutely on An English Teacher and the showender, Rosie. Their voices blend well together and they are an attractive couple together delivering the chaste formal affection so in vogue in 1950s romance (no feverish embraces).
The show’s ending comes rather suddenly, and seems to end rather awkwardly with the final duet.
The Little Brothers at the Press Party: Christopher Jumper, right, and Evan Bernardin, left, alternate nights as Kim MacAffee’s little brother. Bernardin, a former actor with Westco Productions (one of his credits was Winnie The Pooh) boomed out Kids in Act II with confidence, clarity and resonance and patterned the little brother roles so typical of 50s sitcoms excellently with just the right delivery of procociousness. Bernardin said the boys auditioned with 60 other child actors for the part. That there were three rounds in which the boys had to sing, dance and read the parts. Twenty were eliminated with each round. Asked why he thought he got the part, Mr. Jumper said, without hesitation, “Because I’m good.” Jumper added “It’s very good, I like it. It’s very fun. I enjoy it.” Mr. Jumper said of his solo in Act II, “It gives me a part in the show, and makes me feel like I’m standing out.” Photo by WPCNR SchmoozeCam.
Bye Bye Birdie was best musical of 1960. It is a simple show, but never bores. Like most Westchester Broadway Theatre productions it flawlessly creates a wholesome, thoroughly professional and enthusiastic production down to the last detail, cutting no corners with topflight Broadway professionals who keep coming back, they like performing here so much. Judging from the 2 minutes of applause the paying customers and the freeloading press both had a great time as did Mayor Joseph Delfino who stayed until the final applause was over.
Press and Well-Wishers Mingle at Press Party in the spacious WBT Lobby. Photo by WPCNR SchmoozeCam
You get to choose from Boneless Prime Rib of Beef, Chicken Royale, Chicken Parmigiana, Birdie’s Cheeseburger Deluxe,” Roast Pork Loin, Fillet of Sole Chef Dinis, or with Lemon Butter. Vegetarians may even choose Penne Provencal. There’s never a sweat to get the check like on Broadway, because you dine and the stage is right there in front of you.
SPECIAL GUESTS IN THE AUDIENCE: Mayor Joseph Delfino, center, with his right hand man, Paul Wood, City Executive Officer. Photo by WPCNR StageCam.
Bye Bye Birdie plays the WBT in Elmsford to April 24, to be followed by one great hit after another (WBT’s formula for success that has worked for 30 years in Westchester.) Following BBB is Cole Porter’s Anything Goes, and Gentlemen Prefer Blondes. Those who would learn the history of Broadway need only see the WBT programs year-in, year-out, everybody does.
Elvis is not living incognito in Vegas, he’s in Elmsford every night, and his real name is Todd DuBail.
WBT Serves Coke Floats in Birdie’s Honor. Photo by WPCNR TableCam.