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Regional Reviews: New Jersey Revised Can-Can: A Lively, Pleasurable Divertissement Also see Bob's review of 100 Years
The lightweight, flimsy book provides an amusing framework and a delectable setting for this worthy, old fashioned song and dance extravaganza, the likes of which have long delighted many of us. It is set in 1893 Paris, mostly in and around Bal du Paradis, a Montmartre dance hall. After compromised police protect the Bal du Paradis from being closed down for its suggestive, scantily clad can-can dancers, starchy judge Aristide Forestier repairs to the dance hall to gather evidence himself. There, Forestier meets owner-proprietor La Môme Pistache, with whom, it turns out, he once had a youthful love affair which was doomed by class differences (this back story has been added by revisers Joel Fields and David Lee to add motivational heft to their situation). Forestier promptly falls head over heels in love with her all over again, even as he orders Pistache and her employees carted off to jail. A comedic secondary plotline centers on Claudine, a seamstress and incipient Bal du Paradis can-can dancer; Boris, her impoverished Hungarian sculptor boyfriend; and Hilaire Jussac, a suave, unscrupulous art critic whose fancy she captures. In the hope of getting Hilaire to favorably review his sculptures, the foolish, and soon to be foolishly jealous, Boris pushes Claudine into encouraging Hilaire's advances. Although not peak Cole Porter, the vastly entertaining, quite delightful score is still one of the better scores of the golden era of the traditional Broadway musical. If you are of a certain generation, you certainly have fond memories of the soaring and lilting "I Love Paris" and "C'est Magnifique," and the lovely, cleverly more romantic than sad ballads "Allez-Vous En" and "It's All Right with Me." There is also a bonanza of comic melodies which are ear tickling and lively, and skillfully frame some very amusing and entertaining lyrics. Although the comic lyrics are not Porter's wittiest and most sophisticated, more than a few of the humorous songs are quite good and certain to put a smile on your face ("Never, Never Be an Artist," "Come Along With Me"). And the dance music (for the can-can, the Apache, and the quadrille) is transporting. I envy younger audience members who likely will be hearing such of this score for the first time. A seasoned top notch cast of Broadway singers and dancers perform with verve and aplomb. Jason Danieley as Forestier with his solid, convincing demeanor and perfectly placed, smooth baritone provides a ballast which gives needed weight to this production. Kate Baldwin is a delightfully loveable Pastiche. Baldwin is at her winning best when, as the host of the show at her club, she speaks directly to the audience, making us welcome guests there. However, at this point, there is no indication in Baldwin's performance of the (worthy of respect) demimonde that Pastiche has become. Similarly, her lovely, wholesome soprano is delightful to the ear, but not quite right for songs that Cole Porter has written for the survivor who does what she has to in order to keep her dance hall open. However, Kate Baldwin displays so much talent that I do not doubt her ability to grow more fully into the role. Greg Hildreth blusters entertainingly as Boris, and is well supported in his antics by Justin Robertson (Etienne) and Mark Price (Hercule) as fellow starving artists. Michael Berresse nicely captures the oily suaveness of Hilaire. Michael Kostroff is a delight as maitre d' Jean Louis. Kostroff has mastered an all too rare rich comic persona which is delightfully entertaining. Megan Sikora is a charming, funny Claudine. Sikora also leads the superlative dance ensemble in the show-stopper of the evening, the extended Bal du Paradis can-can number. The choreography is inventive, thrilling and freewheeling, and it is executed cleanly and with precision. Choreographer Patti Colombo, who has done excellent work at Paper Mill (and elsewhere) in the past, is here again in top form. There is enjoyable and entertaining choreography during the scene-setting opening concluding with the quadrille featuring "Waiters, Patrons and Girls." There are references here to "The Waiter's Gallop" and "The Bottle Dance" which appear to be homages to Gower Champion and Jerome Robbins and the "golden age" of the Broadway musical. The Apache dance (ably performed by Molly Tynes and Michael McArthur) is rather bland. Possibly, in a day and age of heightened sensibility anent violence against women, the strongly simulated violence that is necessary for an effective Apache is a no go. (Gwen Verdon's performance of the one choreographed by Michael Kidd for the original Broadway production made her a star.) The second act is a bumpier experience. Firstly, there is little in the way of plot to keep Forestier and Pastiche apart until the final curtain (Forestier only needs to get his head around the fact that she is no longer a blushing innocent). Since Joel Fields and David Lee have extensively and largely successfully revised the widely disdained original book without altering any of the basic plot elements or principal characters, and retaining all but one of the songs, a bit more tinkering will likely ameliorate this problem. The only added song is the okay, minor key, sad ballad "Who Said Gay Paree?" This is why I share Fields and Lee's view that this Can-Can should not be considered a revisal. Most of all, the second act is in need of a major dance number (hopefully of the caliber of the Bal du Paradis can-can). There is a brief, underdeveloped dance number in which the dancers portray puppet Harlequins. It appears as if Colombo hasn't had the time to complete it, as the dialogue at the top of the second act seems to promise us another major dance number. Thus, whether it is an expansion of the puppet Harlequin dance or another concept, such a dance number is likely planned. Scenic designer Rob Bissinger's major set piece is a most inviting and spacious interior for the Bal du Paradis. The red curtained dance hall setting has an overhead bandstand balcony fronted with a balustrade and covered by a domed glass ceiling. The artistry, complexity and sense of dimensionality of several backdrops enhance the physical production. Those who have a memory of Jo Mielziner's gorgeous second act Paris rooftop setting (which is said to have inspired Porter to write "I Love Paris") will find the artistic red and black on white representation of Paris at night disappointing. Ann Hould-Ward has designed elaborate period costumes including lovely, flattering gowns, fancy men's dress clothes, bohemian and peasant style men's and women's clothing, fantastical costumes for the Beaux Arts Ball, and witty spectacular dance costumes. The theatrical and witty pink can-can dresses add to the delight of the production's dance highlight. Director (and co-reviser) David Lee has added any number of inventive touches (including a cardboard Toulouse-Lautrec and musicians) and, to a major extent, kept at bay the fashionable sexual innuendoes which are randomly and inappropriately imposed on musical revivals nowadays. With a little help from many talented friends, Cole Porter and Abe Burrows' Can-Can is back in town, providing the kind of melodious, light-hearted, audience-pleasing entertainment that sadly has become an endangered species. Can-Can continues performances (Evenings: Wednesday-Thursday 7:30pm; Friday-Saturday 8 pm; Sunday 7 pm / Matinees: Thursday, Saturday, & Sunday 1:30 pm) through October 26, 2014, at Paper Mill Playhouse, 3 Brookside Drive, Millburn, NJ 07041. Box Office: 973-376-4343; online: www.papermill.org. Can-Can Music and Lyrics by Cole Porter; Book by Abe Burrows (Revised by Joel Fields and David Lee); Directed by David Lee Cast
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