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Regional Reviews: Minneapolis/St. Paul Happy Days —A New Musical Also see Arthur's reviews of Jersey Boys, Carousel, For the Loyal, Peter Pan
So, Happy Days —A New Musical makes sense, in concept. If the TV series successfully tapped into post-Vietnam and Watergate nostalgia for the simpler innocence of 1959, why not a musical that would tap into our collective nostalgia for the innocence of a wholesome 1970s TV family? After all, today's best known TV family are the Simpsons—the Cunningham patriarch ran a hardware store, and social life was based at Arnold's Drive-In, while the Simpsons' patriarch works at a hazardous nuclear power plant, and social life centers on Moe's Bar. The result, however, is nostalgia twice diluted. Do we wax nostalgic for the end of the Eisenhower years or for 1970s television? Happy Days —A New Musical splits the difference, with jokes about the exorbitant cost of gas in 1959 and winking references to characters and events that would only be known to those conversant in TV series. The musical's book was written by Garry Marshall, creator of the TV series, so he certainly knows the territory. The plot is based on the hokiest of premises: the threatened closing of Arnold's, beloved drive-in burger and malt shop. The Cougar Lodge, a businessmen's group led by Mr. Cunningham, comes up with a plan that involves not one, but two fund raisers: a dance contest and a wrestling match. Onto this puffball—is there really any doubt how things will wind up?—Marshall hangs the issues each character faces: Richie isn't ready to commit to his girlfriend, Laurie Beth; Mrs. Cunningham wants to be appreciated for more than her domestic talents; Joanie wants a car; Chachi wants Joanie; the Fonz wants to keep up his cool image; and Pinky wants the Fonz. By the end of the show, all of these are played out, with the assistance of song and dance. Most of the songs by Paul Williams are fairly forgettable. The tune I heard folks come out humming was the familiar theme song from the TV show, which finds its way into Happy Days —A New Musical (it was written by Charles Fox and Norman Gimbel, not Williams). Two numbers make an impression: "Guys Like Us," in which Fonzie regains the courage to be cool, joined in song by Elvis Presley and James Dean, and "Ordinary Hero," a paean to Mr. Cunningham's leadership in addressing the Arnold's crisis, elevated by imaginative and spirited staging, which includes a march using multi-colored bathroom plungers as batons. "Dancing on the Moon" serves well as a romantic number for Fonzie and Pinkie, with a textured melody and from-the-heart lyrics. Overall, Valarie Falken's choreography makes good use of the small cast and limited space, to add vitality to the production. Lori Maxwell leads a six piece on-stage band that puts out as much juice as might be squeezed from the weak score. Joe Hendren directs the piece at a brisk pace, managing to keep clear the multiple plot strands. The set adroitly utilizes two banquettes from the booths at Arnold's in various combinations to form various settings, and the costumes are a good facsimile of late 1950s attire, down to the poodle skirts. The cast members perform ably, with standouts Quinn Shadko, in great voice as a brassy, confident and smart Pinky Tuscadero, and Kameron Nelson and Gregory Adams as the hilariously malevolent Malachi brothers, Fonzie's arch-enemies he is set to wrestle in the fundraiser to save Arnold's. John Zeiler pulls off the key role of Fonzie, though his swagger could be raised a notch; he sometimes seems to be trying to be cool, rather than being cool. Eric Heimsoth brings the necessary earnest quality to his portray of Richie, Matthew Englund is a bundle of jitters and jokes as Ralph, and Andrew Newman has the Potsie's deadpan attitude down pat. There is a charming warmth between Bill Marshall and Lisa Denninger as Mr. and Mrs. Cunningham. For those who are major fans of the "Happy Days" TV show, for those who missed out on the show and want a condensation of its characters and themes, and for those who are seeking a mild but upbeat entertainment, suitable for all ages, Happy Days —A New Musical fits the bill. Those in search of quality musical theater will want to look elsewhere. Happy Days —A New Musical is a Minneapolis Musical Theatre production presented by Hennepin Theatre Trust. It continues through May 17, 2015, at the New Century Theatre, 615 Hennepin Avenue, Minneapolis, MN. Tickets: $25.00 - $30.00, Student tickets: $20.00 with current ID in advance. Student/Educator rush tickets on day of performance, $16.00. For tickets call 612-455-9525 or go to www.hennepintheatretrust.org/events Book: Garry Marshall; Music & Lyrics: Paul Williams; Director: Joe Henderson; Choreographer: Valarie Falken; Music Director: Lori Maxwell; Set Designer: Darren Hensel; Costume Designer: Samantha Kuhn Staneart; Lighting Designer: Grant E. Merges; Sound Designer: Jordan Daoust; Audio Technician: Abe Gabor; Prop Master: Val Larche; Stage Manager: Miranda Shunkwiler; Rehearsal Accompanist: Matthew Bear. Cast: Gregory Adam (Malachi Brother, Ensemble), Nikki Anthony (Ensemble), Richard Choate (Arnold), Lisa Denninger (Marion Cunningham), Matthew Englund (Ralph), Eric Heimsoth (Richie Cunningham), Jill Iverson (Ensemble), Bill Marshall (Howard Cunningham), Kameron Nelson (Malachi Brother, Ensemble), Andrew Newman (Potsie), Lindsey Oetken (Lori Beth), Brianna Patnode (Joanie Cunningham), Kory LaQuess Pullman (Chachi), Quinn Shadko (Pinky), John Zeller (Fonzie).
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