Few musicals can match the pedigree of this 1924 classic. It has a number of "firsts," including being the first of 14 musicals written by the legendary team of George and Ira Gershwin. It also established a pair of dancers, Fred and Adele Astaire, as Broadway's leading dance team. Then there are the songs, which have become standards through the years: "Lady, Be Good," "Fascinating Rhythm," "I'd Rather Charleston" and "Nice Work if You Can Get It," among many, many others. The folksy, nostalgic charm of Lady, Be Good is perfectly suited to the exceptional talents of the Skylight Opera Theater.
This production fairly zings off the walls of the architecturally splendid Broadway Theater Center. Its lighthearted charm is particularly suited for uplifting spirits in today's world. The aftereffects of September 11, 2001, the war on terrorism, and the sputtering economy -- none of this troubles the minds of the show's two main characters, Dick and Susie Trevor. As an out-of-work pair of dancers, this brother-and-sister team turns to each other to keep their spirits up. Of course, there are the inevitable sibling squabbles, quite charmingly rendered by the acting team of Tammy Bednash, as Susie, and Benjamin Howes as Dick. The pair is ideally suited to each other: Susie is bright-eyed and brimming with optimism, while Dick is the slow and steady influence that literally keeps their feet on the ground.
One cannot imagine an actress more perfectly cast than Bednash. Her every move is straight out of the 1920s, and her "Roaring 20s" look instantly transports the audience to this era. Dick, in contrast, is a quiet treasure who displays the natural charm of a young Bing Crosby. Together, they are an unbeatable team. With assistance from a strong supporting cast, they carry this musical to the heights of the current Broadway production of 42nd Street.
In addition to the Dick/Susie team, this production benefits from the talents of many other top-notch actors, most notably Norman Moses as Watty Watkins, a scheming lawyer. Moses, a well-known Milwaukee actor, cuts quite a figure in his cream-colored suit and matching crocodile shoes. His insertions of topical humor are priceless, and the audience barely catches its breath before it dissolves in laughter again as Moses utters the next line.
In other roles, Terry Tuttle does a nice turn as a man-hungry socialite, and Jack Forbes Wilson impressively takes on the challenge of being a character in the show as well as the show's music director. Erick Price is every inch the leading man who wins Susie's heart. For my taste, however, Ray Jivoff is a bit over-the-top as the goofy Bertie Bassett. One wishes director Pam Kriger had been more successful in reigning in his natural flamboyance; Jivoff is a gifted actor, and he doesn't need to push it to this extent. Aside from this quibble, the show fairly radiates with a feel-good charm.
Interestingly, the show's title tune isn't the toe-tapping hit one would expect. The best-choreographed production number is "Fascinating Rhythm," which is wisely reprised later in the show. Other memorable musical moments include the lovely duet, "Half of It Dearie Blues," and the energetic "I'd Rather Charleston." Another number from the show's hit parade, "Little Jazz Bird," brought back fond memories of Tommy Tune and Twiggy performing this sweet duet many years ago in Broadway's My One and Only.
