Vanities Off-Broadway Reviews

In its girl-bonding giddiness and primitive stirrings of feminism, the original Vanities somewhat resembled a contemporary effort by Wendy Wasserstein, Uncommon Women and Others, only the latter was more consistent and dug deeper. Vanities- The Musical cobbles such themes together with reasonable dexterity and isn't a chore to sit through, but it simmers, simmers, simmers, never reaching a boil. Those themes may land more strongly with ex-sorority girls of a certain age than they did with this curmudgeon. You'll enjoy Kirshenbaum's pleasant melodies, perhaps identify with the uncomfortable pangs inherent in long-term friendships, and probably be mildly moved by the end. But Vanities–The Musical ends where it does only because it has no place else to go.

Part of the problem is Podschun, Keum, and Jones are not charismatic as friends. What is done well are the musical arrangements by Carmel Dean and Bryan Perri. The harmonies are well crafted and they blend beautifully. Podschun is the standout here. She has the best vocals, if not the best songs and makes the most out of her breakdown solo “The Same Old Music”. We believe her character every step of the way and she is believable. Keum’s songs are sweet and well meaning. As for Jones who has the best songs, I just was not a fan of their vocals.

Well, musical lovers, here’s the tuner again, now as Vanities–The Musical. It’s surely pleasant enough but not so much a revival as, according to advance word, a revisal. Again, as in 2009, it extends the years – originally 1963-74 – that a trio of small-town Texas vanity owners, Kathy, Mary, and Joanne, promise eternal friendship only to strain that promise and in 1990 acknowledge the error of their ways. (Writing in 1976, Heifner understandably had a grasp on 1974 but hadn’t bothered to imagine the future.)

With Pomerantz and his winning company on board, Vanities-The Musical nonetheless remains not only diverting but endearing, right up to the feel-good conclusion that Heifner and Kirshenbaum have provided. Heifner’s play was never a searing piece of social commentary to begin with, and by continuing to brighten both the presentation and the resolution of this spinoff, he’s giving his nearly 50-year-old baby room to grow.