Breaking Up Is Hard To Do

Featuring the songs of Neil Sedaka

Book by Eric Jackson & Ben Winter

Music by Neil Sedaka

Lyrics by Neil Sedaka, Howard Greenfield, and Cody Philip

Director, Gordon Greenberg; Musical Director, Michael Larsen; Choreographer/Associate Director, Joshua Rhodes; Scenic Design, Tobin Ost; Lighting Design, Richard Latta; Sound Design, Adam Rigby; Costume Design, Thom Heyer; Wig/Hair Design, Byron Batista; Production Stage Manager, Paul O'Toole; Original Costume Design for Renée Taylor by James E. Crochet

CAST: Renée Taylor, Esther; Edward Staudenmayer, Del; Stuart Zagnit, Harvey; Robb Sapp, Gabe; Farah Alvin, Marge; Amy Goldberger, Lois

Performances through July 12 at Ogunquit Playhouse

Box Office 207-646-5511 or www.ogunquitplayhouse.org

Touting itself as America's foremost summer theatre, the Ogunquit Playhouse offers up Broadway at the Beach and stretches its legs with a rollicking trip to the Catskills for Breaking Up Is Hard To Do. If the audience reaction is any indication, this jukebox musical composed of the songs of Neil Sedaka fits the bill of fare for the summer circuit like madras pants at the country club. As light and delicious as cotton candy (and about as nutritious), the two-acter flows effortlessly, carried along by the strains of 19 familiar tunes and its star trouper Renée Taylor.

According to Executive Artistic Director Bradford Kenney, 47% of The Playhouse audience is between the ages of 46 and 67, so it wasn't much of a gamble to select this show for the 76th season schedule. Set at Esther's Paradise Resort in the Catskill Mountains during the summer of 1960, the songs, the costumes, and the sensibility of the characters exude the essence of those simpler days and create instant nostalgia for the Baby Boomers, while the younger set can relate to the universal themes of teenage crushes and breakups. The story is simple girl meets boy, girl loses boy, girl gets a better boy, but veers away from strict formula enough to make it interesting. Although rife with silly shtick (it is the Catskills, after all), Gordon Greenberg directs the cast to play it all very tongue in cheek. They don't take themselves too seriously and look like they're having as much fun as the audience.

While the tone of the show is light and jaunty, there is trouble in Paradise when the air conditioning breaks down and other repairs and bills are mounting up. Hoping to improve business, Esther (Renée Taylor) is counting on receiving national attention for her resort when representatives from American Bandstand announce plans to scout the headliner heartthrob Del Delmonico (Edward Staudenmayer), an Elvis Presley wannabe. As much a Romeo as he is a vocalist, Del woos a couple of swooning young women who are weekending at Esther's. Accompanied by her ditzy and vivacious best friend Lois (Amy Goldberger) for what should have been her honeymoon, dour and dowdy Marge (Farah Alvin) is trying to recover from a broken heart after being abandoned at the altar ("Lonely Night"). Lois assures her they're in the right place ("Where the Boys Are") and arranges for them to be Del's backup singers for his big night.

While Del and the resident emcee cum jokester Harvey (Stuart Zagnit) perform onstage, most of the drama plays out backstage or in the wings. Love blossoms both close up and from afar, hearts are broken and mended, opportunity knocks, and a measure of revenge gets taken. Coincidentally, there is a song for every occasion and that's where the fun breaks out. Whether it is the sweet, shy handyman Gabe (Robb Sapp) trying to fantasize himself into Marge's affections ("The Diary"), or old pros Esther and Harvey harmonizing lovingly on "Next Door to an Angel," everybody gets into the acT. Taylor is not a songstress, to be sure, but she delivers the heart of the song and garners attention whenever she is onstage. Del and Harvey randomly select a young woman from the audience and serenade her with "Happy Birthday, Sweet Sixteen" to the delight of her companions and her obvious embarrassment (Kudos, Susan Curtis!). Several of Sedaka's most familiar old chestnuts are featured, including some he wrote for other artists, such as "Stupid Cupid" (Connie Francis), "Solitaire" (The Carpenters), and "Love Will Keep Us Together" (The Captain and Tennille).

The vocal talents are the strength of this production. Alvin's powerful pipes pin the audience to their seats and elicit whoops and whistles after every song. She has the kind of voice that seems like it can't possibly be coming from her, especially since she makes it look effortless. Sapp has a surprising sound, too, that ranges from earnest choirboy to passionate rock star. And speaking of rock stars, Staudenmayer's rich, booming voice, curled lip, and swiveling hips make it apparent that he must be a time traveler from 1960. Goldberger is a belter who I prefer in her duets or with the full company, but as evidenced by her assignment as Dance Captain, she is most proficient on her feet. As one of the veterans in the cast, Zagnit is equally adept at delivering a song or pulling a rubber chicken from his pocket and is largely responsible for audience good-natured groans.

The scenic design is best described as minimal, yet adequate. The unit set serves as both onstage and backstage, shifting the focus from one to the other by having the performers walk upstage and face the rear wall, separating the front of the house from the back with a sheer curtain. Musical Director Michael Larsen and his three musicians are also seated upstage, effectively making them an integral part of the company. Without the need for scene changes, Director Greenberg is able to keep the story moving and make good use of sound and lights to enhance the feeling of a show within a show. Costumes range from simple denim pedal pushers (Capri pants, in the current vernacular) to dinner jackets and pastel cocktail dresses. For the finale, Esther is garbed in a cobalt blue satin dress with a paisley train reminiscent of a peacock and matching blue gloves, in striking contrast to her very big blonde hair. Little touches like Marge's pointy eyeglass frames, Lois' hair bands, and Del's pompadour combine to transport us to those fashion-challenged days of yesteryear. Breaking Up Is Hard to Do is an upbeat, lively show that entertains. I think that's what summer theatre is all about.