Hollywood/Ukraine Brings Smiles to a Summer Night on Cape

A Day in Hollywood/A Night in the Ukraine

Book and Lyrics by Dick Vosburgh, Music by Frank Lazarus

Director/Choreographer, James Brennan; Musical Direction, Matt Castle; Scenic Design, Daniel Meeker; Costume Design, Paul Favini; Sound Design, James McCarthy; Lighting Design, Christopher S. Chambers

CAST

Nancy Anderson, Jonathan Brody, Susan Cella, Erin Crouch, Jeffry Denman, Michelle Dyer, Matthew Brandon Hutchens, and Michael McGrath; with Matt Castle and Evans Haile at the Duo Pianos

Performances through July 19, 2008 at Cape Playhouse, Dennis, Massachusetts

Box Office 877-385-3911 or www.capeplayhouse.com

Has anyone ever described the antics of the Marx Brothers without using the word zany? Although the real brothers have long since gone to the great movie house in the sky, they are so lovingly recreated on the stage at the Cape Playhouse in Dennis that the mayhem we witness is an homage to Minnie's boys. Under the direction of James Brennan, Groucho, Chico, and Harpo live again and leave 'em rolling in the aisles of the venerable old barn.

A Day in Hollywood/A Night in the Ukraine is a twofer, combining the nostalgia of 1930s musicals with the classic comedy of the Marx Brothers. After a 1979 London opening, it moved to Broadway in May 1980 and ran for 588 performances. Helmed by Tommy Tune, the show received nine Tony Award nominations including Best Musical, Book, and Director, with trophies going to Tune and Thommie Walsh for Choreography and Priscilla Lopez for Featured Actress.

The first act is set in the famous Grauman's Chinese Theatre in Hollywood where uniformed ushers warm up the audience with a singing and tap dancing tribute to the famous names (and feet) of the silver screen. They transport us by performing nearly a score of familiar tunes from the '20s and '30s by the likes of Hoagy Carmichael, Frank Loesser, Harold Arlen, Johnny Mercer, Richard Whiting, and Cole Porter, among others. Using the clever device of a partially raised curtain, a parade of lower extremities dances across an upstage platform calling to mind such luminaries as Astaire, Rogers, Dietrich, Chaplin, and the audience favorites, Mickey and Minnie Mouse. Musical Director Matt Castle and Playhouse Artistic Director Evans Haile, clad in white tie and tails, provide a full, rich accompaniment on dual pianos situated on the stage.

Jonathan Brody takes over the piano duties as he emulates Whiting and kicks off an arc of the composer's songs with "It All Comes Out of the Piano." Taking the title literally, the other members of the cast appear to climb out of the instrument, pulling numerous props along with them. Highlights of this segment include a sand dance, Nancy Anderson's version of Shirley Temple, and a classic Shim Sham by Jeffry Denman, Susan Cella, and Michael McGrath. The six ushers and three pianists pull out all the stops for a rousing (and sometimes manic) rendition of "Beyond the Blue Horizon" that takes everyone's breath away, followed by a romantic pas de deux ("Easy to Love") with the elegant Erin Crouch and Matthew Brandon Hutchens looking all Fred and Gingery. The ushers close the first act with a very well choreographed a cappella explanation of the Hays Production Code, the 1930 movie industry censorship guidelines.

The second part of the double feature is the film that's playing at Grauman's. Loosely based on Chekhov's The Bear, the action takes place in the drawing room of Mrs. Pavlenko (Cella, aka Margaret Dumont), a rich Russian widow who lives with her daughter Nina (Michelle Dyer). She employs an Italian piano-playing footman (Brody, aka Chico) and a mute, horn-honking gardener (Anderson, aka Harpo). Enter Serge B. Samovar (McGrath, aka Groucho), a lawyer who claims that Pavlenko's late husband owed him a large amount of money, and his coachman Constantine (Denman), an unsuccessful playwright who falls instantly in love with Nina. In typical Marx Brothers fashion, there is irreverence, lunacy, and outrageous humor, along with more singing and dancing and even an occasional ad lib. A Night in the Ukraine is sheer fun, especially thanks to the crack comic timing and spot on impressions of the wild and crazy brothers and the classy dowager.

The cast of four men and four women has among them strong vocal and dance talents, as well as comedic acting chops, but Denman and Anderson are true triple threats. Denman was seen in the Boston area twice in the past year and received an IRNE Award for his work in White Christmas and Crazy For You. He has the looks and voice of a matinee idol, but his smooth, technically skilled tap dancing does it for me. Anderson covers a range of emotions from hopeful to excited to dejected to determined in "The Best in the World" as an usher who finds her way to her fifteen minutes of fame, then steals several scenes with her charming Harpo interpretation, blending his sensitive, childlike qualities with the lecherous skirt chaser. Worcester native McGrath successfully captures Groucho's sense of the ridiculous, as well as his crouching walk, raised eyebrows, and cigar handling. There's more than one moment when you'll shake your head or blink your eyes to convince yourself that there are no ghosts on the stage.

The costume design by Paul Favani adds authenticity to the Grauman's ushers and dancers, as well as to the Marx Brothers. The male ushers wear red pants, red and gold striped vests, and grey jackets; the women wear red skirts and grey blouses, and they all don white gloves. Mickey and Minnie are recognizable by their gigantic white-gloved hands, huge yellow shoes, and red shorts with big white buttons. The members of the Pavlenko household staff have on attire fit for Russian peasants, while the matron is dressed in a floral, lilac gown with an uneven hemline. Harpo has his signature top hat and trench coat, Chico wears the roll brim alpine style hat, and Groucho sports a long, black cutaway coat and suspenders. Daniel Meeker's scenic design evokes both the movie theatre and the Russian country house, while his use of warm reds and golds complements the costumes.

The diverse nature of the show gives everyone a chance to shine and they all take advantage of their moments. The director also doubles as the choreographer and he is blessed with a stable of capable hoofers. Tommy Tune left his footprints all over this musical, but Brennan fits comfortably in those rather large shoes. A Day in Hollywood/A Night in the Ukraine is just the thing for a summer night on Cape Cod.