Every so often an actor or actress
steps into a role impeccably suited for their talents. Think of Matthew Broderick as J.
Pierpont Finch in How to Succeed in
Business Without Really Trying or Nathan Lane as Max Bialystock in The Producers. Now we can add to the list Kristen Chenoweth as Lily Garland
in the current revival of On the
Twentieth Century. Chenoweth’s
talents are perfect for the egocentric movie star with a full-throttled
voice.
The musical takes place on the
Chicago to New York City train, the Twentieth Century. On board washed up producer/director
Oscar Jaffee, played with self-aggrandizing delight by Peter Gallagher, plots
his comeback with the idea of inking Ms. Garland, a fellow traveler, to a
contract for a new play. The
problem is the two have a long, disharmonious relationship dating back years
earlier after Jaffee first discovered the innocent Ms. Mildred Plotka a.k.a.
Lily Garland. Helping with the
scheme are two of Jaffee’s associates, Oliver Webb and Owen O’Malley, played
with lovable beguilement by Mark Linn-Baker and Michael McGrath. Running interference is Garland’s
dimwitted movie co-star and boyfriend, Bruce Granit, played with a comic zest
by Andy Karl, last season’s Rocky. Adding to the hijinks is loveable
spinster and religious fanatic, Letitia Primrose, played with youthful vigor by
Mary Louise Wilson, who declares she is the president and founder of Primrose
Restoria Pills. Her pledge to monetarily
back Oscar Jaffee’s new production is the final catalyst in propelling On the Twentieth Century to its gleeful end.
Both stars--Kristen Chenoweth and
Peter Gallagher—make a triumphant return to Broadway in roles they truly relish. Their comedic foreplay and prowess are
a true pleasure for the audience.
The aforementioned supporting cast, all seasoned stage veterans, give
the production a feel of almost too many riches. While all the performers are superb, there are two special
mentions to note. First, is Mary
Louise Wilson in the featured role as Ms. Primrose. She is a comic tour de force and her big number, “Repent,”
is priceless. Second, is the
quartet of actors portraying the train porters that pop up at the beginning of
the show and strategically throughout.
They are tap dancing and singing wizards that energize the musical.
The score by Cy Coleman and Betty
Comden and Adolph Green is one of my favorites. It is buoyant, tuneful, and gives each of the principle
actors a chance to shine. There are
many great songs including such entertaining gems as “Veronique,” “Never,” and
“She’s a Nut.”
Director Scott Ellis keeps the
atmosphere light and the pacing nimble.
He gives his troupe of thespians plenty of room to flex their acting
muscles and they deliver flawlessly.
Set designer, David Rockwell, has
done a magnificent job recreating the train’s luxury interiors. William Ivey Long’s costumes are
sumptuous and transport you back to a time when lavish train travel was more
the norm.
On
the Twentieth Century, a rollicking good time with numerous star turns by a
formidable cast led by the irresistible Kristen Chenoweth.
