Review of "The Will Rogers Follies"

The Will Rogers Follies is a bit too homey and down-to-earth for its own good. While the musical, a biography of the famed humorist, a vaudeville, movie, and radio star, has moments of energetic exuberance it is weighed down by Peter Stone’s muted book for the show. 

 

“Give A Man Enough Rope” David M. Lutken (Will Rogers) with Michael Biren, Borris York, Brad Frenette and Aaron Burr in Goodspeed Musicals’ The Will Rogers Follies, playing now through June 21 at The Goodspeed.  Photo Credit © Photo by Diane Sobolewski

The premise of The Will Rogers Follies is simple.  The entertainer, played with an easy going and affable charm by David Lutkin, reviews his life story through the lens of a Ziegfield Follies show (he appeared in such extravaganzas throughout his storied career).  He combines a survey of his past—how he broke into show business, his relationships, family and professional life--with folksy asides to the audience, disarming witticisms, incisive social commentary and the occasional rope trick performed with unexpected skill.  The yarns he spins, leading up to his untimely death, are buttressed with elaborately staged production numbers, a la the Ziegfield Follies, of eye-catchingly clad showgirls and athletically bounding male dancers.

The musical can be entertaining and often quite funny, yet the libretto by Peter Stone is not always vibrant and compelling.  Often, you just wait for the next razzmatazz production number to pick up the pace.

 

“Will-a-Mania” with the cast of Goodspeed Musicals’ The Will Rogers Follies, playing now through June 21 at The Goodspeed.  Photo Credit © Photo by Diane Sobolewski

The score by Broadway luminaries Cy Coleman, Betty Comden and Adolph Green is enjoyable, but without any memorable tunes.  The songs are more serviceable within the structure of the show, but less enduring once leaving the theater. 

The cast is led by David Lutkin as Will Rogers.  The actor also played the role on Broadway.  He has an unhurried, laid-back approach, which warmly connects with the audience.  In some respects, his performance of Rogers echoes the role of Woody Guthrie he has played many times in Connecticut theaters and elsewhere in the show Woody Sez.  Lutkin has a pleasant singing voice and seems to really be enjoying himself, especially when he successfully executes one of his varied rope tricks.  Catherine Walker, playing Rogers’ long-suffering, but unflappable wife, Betty Blake, gives an assured and steady performance.   David Garrison is an adroit scene stealer as the lead’s father, Clem Rogers.

 

The cast of Goodspeed Musicals’ The Will Rogers Follies, playing now through June 21 at The Goodspeed.  Photo Credit © Photo by Diane Sobolewski

Director Don Stephenson has a steady command of the production.  He is at his best when corralling David Lutkin to interact with audience members, either through thought-provoking observations on the news of the day or humorous asides. However, the disparate segments of the musical—expository scenes and musical numbers—do not always flow as seamlessly as they could, which gives the show an irregular flow.

Choreographer Kelli Barclay, no stranger to the Goodspeed, adds a needed dash of pizazz and high-stepping flourishes just when the production begins to sag from too much storytelling.

Ilona Somogyi’s costume designs, primarily for the lush and lively dance routines are whimsical, glitzy and brash.  They add color and sparkle to the show.

The Will Rogers Follies, a mostly entertaining production, playing through June 21^st at the Goodspeed Opera House in East Haddam, CT.