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Even those who are agreeably absorbed against cornball recreations of admired TV shows will acquisition their angel activated in “The Honeymooners,” the lumbering, scattershot agreeable premiering at the Paper Mill Playhouse. Musical date adaptations of TV sitcoms accept had a history of black at-bats (“Happy Days,” “The Addams Family”) and this airing — which has been in development for several years — won’t do annihilation to change the stats.
Based on the ’50s TV alternation that starred Jackie Gleason as Ralph Kramden, the Brooklyn bus disciplinarian with dreams of arresting it rich, the agreeable rarely transcends its arced ball sensibility, accustomed banana setpieces and syrupy-simple sentiment. Admitting the accomplished casting conjures a reasonable replica of the sui generis originals, this is a appearance that evokes not so abundant the archetypal ball — which ran from 1955 to ’56 — but its television awakening 10 years later, back Gleason angry the episodes into mini-musicals for his Miami-based array show.
“Mini” is the accessible word, with the adeptness Gleason alive that Ralph and his sewer-man pal Ed Norton, their endlessly accommodating wives Alice and Trixie and the show’s attenuate plots are best taken in sketch-length doses.
But for this musical, book writers Dusty Kay and Bill Nuss go maxi, creating a meandering and acutely amaranthine storyline, including dream sequences and flashbacks, that has Ralph (Michael McGrath) and Ed (Michael Mastro) acceptable a chime challenge for an Italian cheese and after accepting assassin by a big time Madison Avenue ad agency.
The artifice is convoluted, bedlam and eventually annoying as the appearance clocks in at added than two and a bisected hours. Kay and Nuss not-so-deftly being catchphrase-filled chat and iconography from the alternation into the scenes, eliciting acclaim from loyal Kramdenites in the audience. Other appropriations accommodate some “How to Succeed” $.25 — that don’t. But best ambiguous is the careless, awkward writing.
For instance, Ralph’s acceptable chime lyrics assume no worse than the ones the professionals alter them with (while befitting Ed’s music) — a cardinal artifice point. There’s additionally a down-covered subplot involving Trixie (Laura Bell Bundy), who in this adaptation is a above stripper. (Cue spit-take for the actual aboriginal “Honeymooner,” Joyce Randolph, if she sees it). An angled save in the end of the appearance by Alice (Leslie Kritzer) aloof underscores the muddiness of what should be a lean, tight, banana storyline.
The affable but all-encompassing tunes by Stephen Weiner and Peter Mills additionally add little. (Does the appearance absolutely charge two ball numbers starring a agile of bus drivers?) Alone one song absolutely acreage a bull’s-eye: A agitating Kritzer, who adds amore to her date appearance after diluting Alice’s banana deadpan, lets apart and sings — and alike scat-sings — about “A Woman’s Work.” There’s additionally the ensemble cardinal “Infine la Felicita” led by Lewis J. Stadlen, who gives the appearance some welcome, old-time amphitheater cool as Old Man Faciamatta, the big cheese of a sponsor.
McGrath is spot-on as Ralph, accurately evoking Gleason’s braggadocio, bluff and bendable underside. A strong-voiced Mastro brings agreeable action to Norton’s repertoire of aberrant ticks. And admitting Trixie’s cardinal is a bash from the Hot Box choir in “Guys and Dolls,” Bundy makes her appearance admirable and agreeable in the always-underwritten role.
It’s alone back the agreeable turns “meta” at show’s end with the addition of two new characters does the tuner bang a atom of boldness and archness that it contrarily lacks. But it comes too little, too backward for a appearance that aspires to shoot for the moon but alone circles itself.
Regional Theater Review: ‘The Honeymooners,’ The MusicalPaper Mill Playhouse, Millburn, N.J.; 1,200 seats; $137 top; opened, advised Oct. 8, 2017; runs through Oct. 29; Running time: 2 HOURS, 40 MIN.
ProductionA Paper Mill Playhouse presentation of a agreeable in two acts with book by Dusty Kay and Bill Nuss; music by Stephen Weiner; lyrics by Peter Mills.
CreativeDirected by John Rando; choreography, Joshua Bergasse ; sets, Beowulf Boritt; costumes, Jess Goldstein; lighting, Jason Lyons; sound, Kai Harada; agreeable administration and articulate arrangements, Remy Kurs; orchestrations, Doug Besterman; ball arrangements, Sam Davis; assembly date manager, Timothy R. Semon.
CastMichael McGrath, Michael Mastro, Leslie Kritzer, Laura Bell Bundy, Lewis Cleale, Lewis J. Stadlen, David Wohl, Chris Dwan, Michael L. Walters, Jeffrey Schecter, Kevin Worley, Holly Ann Butler, Hannah Florence, Tessa Grady, Stacey Todd Holt, Ryan Kasprzak, Drew King, Eloise Kropp, Harris Milgrim, Justin Prescott, Lance Roberts, Britton Smith, Alison Solomon,
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