Promoted as a tribute to comedic musicians and songwriters, “The Flip Side” features selections of their creations but doesn’t say much, if anything, about either of them. Both the fine performers and what they perform come on basically the same way throughout—with small dance moves, the same order of entrance, and maybe a distinguishing mark (usually moves or changed costume) throughout. The show’s best when these are funny.
William Selby comes over as a mild lead, since he’s the introducer of both Acts. Then Chris Richie (funniest) and Marcel Werder (usually finalist) join in, although there are a few solos in the show. Director Catherine Randazzo seemingly tried to vary the activity, but there’s little room for it on either the Court Cabaret stage or in the script.
The show begins and ends with “The Ballad of Sigmund Freud,” as if sex-referenced matter predominates. I found that quite mild. “I’m My Own Grandpa”—Selby’s major contribution—may presume to be sexy bu it’s just funny since its story is so improbable.
Standout numbers include Chris Richie’s take on ”Killed By a Cocoanut” and Marcel Werder’s songs with a feminine point of view. “Spring Is the Loveliest Time of the Year” brings a nice change of tone to Act I. In Act 2 there’s a keen blend of parts of great screen songs like “Never on Sunday” and “Shall We Dance?”.
Perhaps the most improbable hit is “Still Gotta Die.” It had an early February audience spontaneously clapping. The same happened even in an encore just after the curtain call.
Music Director Darren Server’s onstage piano was the outstanding feature on the night I reviewed. (He has two onstage alternates during the show’s run.) FST’s Tech designers have also handled their areas well.
