A Bonafide Broadway Hit

 

Tootsie – Broadway in Chicago

 

In 1982, Sydney Pollack directed what would become the second-highest-grossing film of that year in America. It was nominated for ten Academy Awards and five Golden Globes, winning for Best Musical or Comedy, Best Director for Mr. Pollack, Best Supporting Actress for Jessica Lange and Best Actor for Dustin Hoffman. The movie is also recognized by the American Film Institute as one of the best comedies ever produced. The movie’s overwhelming popularity, even over 30 years after it first appeared in theatres, and all the accolades it’s achieved, inspired an obvious musical adaptation. In this era of transferring popular films into stage musicals, this show may rank as one of the very best to ever open its pre-Broadway production in Chicago. It’s hilarious, smart, polished and hits all the right notes, in every possible way.

Adapting the original screenplay, written by Larry Gelbart and Murray Schiscal (with contributions from Elaine May and Barry Levinson), Robert Horn has made some significant changes to the story, while still keeping the same basic plot and subtext and amping up the comedy. It should be noted that this is Mr Horn’s first script for a Broadway musical, and he’s done an incredible job. The play is very funny. It’s biting and bitchy and has been cleverly brought into the 21st century with skill and ease. It’s still about a difficult, temperamental actor who can’t get cast any more; but this time around the story is set in the world of the theatre, making it feel more immediate and meaningful. 

Jazzy, infectious and toe-tapping, the music and lyrics are by the incomparable David Yazbek, the recent Tony Award-winner for Best Original Score for his breathtakingly beautiful “The Band’s Visit.” This is the same talented artist who composed the scores for other Tony-winning Broadway hits, like the “The Full Monty” and “Dirty, Rotten Scoundrels.” There are songs here that will undoubtedly become pullout standards for actors everywhere. They hit home and express, through music and words, what every struggling artist and lover feels.

Scott Ellis has another hit on his hands with this new musical, and quite possibly a Tony Award, in his future. Broadway aficionados will recognize this talented director as the man who guided such Broadway hits as the recent revivals of “She Loves Me,” “On the 20th Century” and “You Can’t Take It With You.” The way he’s molded and staged this production, the little extras he’s injected into the story and the way he’s counseled this gifted cast and artistic team is pure genius. Bravo, Mr. Ellis!

Some of the other creatives responsible for this exciting, new production include Denis Jones, whose brilliant, brisk, buoyant choreography is fun to watch and peppered with tongue-in-cheek references to other classic Broadway musicals. Andrea Grody expertly supervises all the musical direction for this production, both on stage and in the orchestra pit. David Rockwell’s colorful, evocative scenic design is dominated by a skeletal outline of Manhattan’s familiar skyline, with other locales that easily move on and off the stage. The show’s brilliantly lit by Donald Holder, and Brian Ronan’s sound design provides the required special effects while allowing the audience to perfectly hear every clever word and lyric. With over 70 Broadway designs to his credit, six-time Tony Award-winning costume designer, William Ivey Long, outdoes himself with his sumptuous, splashy, richly-textured wardrobe, many of which transform magically before our eyes. And Paul Huntley’s hair and wigs provide the icing on the cake, along with Angelina Avallone’s perfect makeup designs that includes a large tattoo that draws much laughter.

A talented star of stage, TV and film, Santino Fontana (who made a dashing Prince Charming in the recent Broadway reimagining of “Rodgers & Hammerstein’s Cinderella”) is drop-dead extraordinary as Michael Dorsey/Dorothy Michaels. Audiences will immediately forget the indelible presence of Dustin Hoffman from the film, because this actor has made the iconic character all his own. The young actor is not only a finely trained singer but also a very fine actor. Every perfectly nuanced look and well-placed gesture, each expressive look and rehearsed double-take feels appropriate and perfect. Nothing is extraneous or unnecessary and Mr. Fontana proves, once and for all, that he’s a gifted Broadway star, worthy of Theatre’s finest accolades.

He’s supported by an array of talented actor/singers, as well. Fresh from “SpongeBob SquarePants,” Lilli Cooper makes a charming, spunky Julie Nichols, the role that won Jessica Lange her first Oscar. In Robert Horn’s adaptation, Julie is a well-known young Broadway actress, starring in a musical sequel to “Romeo and Juliet.” Ms. Cooper’s earnest portrayal of this thespian allows her to display her comic talents, as well as a dynamic singing voice. Ms. Cooper’s shared scenes with Santino Fontana are pure theatrical chemistry. Broadway actress Sarah Stiles brings a clever command of comedy to her role as Sandy Lester, Michael Dorsey’s actress girlfriend. Comic actor Andy Grotelueschen is brilliant as Michael’s roommate and best friend, Jeff Slater. 

Reg Rogers is a blithe balance of uncontrolled lecherous desire and undeserved self-importance, as stage director Ron Carlisle. His portrayal almost seems to be ripped out of today’s headlines in the way he treats women. John Behlmann’s portrayal of Max Van Horn is one of the funniest characterizations of a clueless actor ever seen on stage. Reimagined as a reality star cast in his first Broadway show, from the film’s aging soap opera star, Mr. Behlmann plays the role as a young, hunky, egocentric celebrity who thinks every woman is his for the taking. When Max starts putting the moves on Dorothy Michaels he learns a lesson he’ll never forget. Broadway veterans Julie Halston and Stan Fields are terrific in the roles of producer, Rita Marshall, and Michael Dorsey’s harried agent, Stan Fields.

As might be expected with a pre-Broadway tryout, there’s a little more work that can be accomplished with this script before “Tootsie” opens at the Marriott Marquis next Spring. The show could be shortened without losing anything important. There are a few times when a ballad seems to be simply stating the obvious; Dorothy’s reveal as Michael isn’t quite as earthshaking the way it’s currently staged; and the final moments of the musical feels like the show simply ran out of steam. But an exciting, beautifully choreographed opening number, all of Sarah Stiles’ and Andy Grotelueschen’s hilarious scenes, Santino Fontana’s astounding physical transformations (that sometimes bring to mind Dana Carvey’s SNL Church Lady) and his honest, richly detailed characterizations—all of this, and more, add up to a bonafide Broadway hit.    

Highly Recommended

Reviewed by Colin Douglas

 

Presented September 11-October 14 by Broadway in Chicago and Scott Sanders Productions at the Cadillac Palace Theatre, 151 W. Randolph, Chicago.

Tickets are available at all Broadway in Chicago box offices, at all Ticketmaster locations, by calling the Chicago Ticket Line at 800-775-2000 or by going to www.BroadwayInChicago.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.