Reviewed by David Roberts for Theatre Reviews Limited

"On the Town" -- A Redemptive Look Back

Just a few short days before the opening of George C. Wolfe's production of "On the Town," young women and men were preparing to be shipped off to a war from which they knew they might not return. These youngsters, like "On the Town's" Ozzie (Robert Montano), Chip (Jesse Tyler Ferguson), and Gabey (Perry Laylon Ojeda), dressed up to kill (let's be honest) and that is a tragic happening. War makers expect uniforms and Pentagon hype to transform often gentle and innocent young men and women into some war machine to benefit some often nebulous (if not indefensible) cause. Whether it be 1944 or yesterday, young soldiers or sailors from America's heartland would be awestruck by all they would see, hear, and experience in New York City. But none of this awe would detract from their underlying fear, anxiety, depression, doubt, anger, or utter dread at being placed in harm's way in a strange and unfamiliar terrain. They might hope to find a girl or boy to spend some time with before leaving shore, but even the keenest sexual energy and excitement about being in the "big city" would be tempered (if not dissipated) by the thought of going to war.

This current "On the Town," skillfully and thoughtfully directed by George C. Wolfe, appropriately gives us three young men who are trying their best to make something good and memorable of a situation they simply would rather not be in. The performances of Robert Montano (Ozzie), Jesse Tyler Ferguson (Chip), and Perry Laylon Ojeda (Gabey) are appropriately understated yet replete with the necessary excitement and energy of three young men (boys really) trying to cheat death with twenty-four hours of sheer abandon.

Though this story is endearing, it is more than historical narrative. "On the Town" at its most significant level is metaphor. All the dashing about and sightseeing and sexual escapades are really a metaphor for the coming of age of three young men, an abandonment of their innocence, a search for their identity, and a confirmation of the cruelty humankind can often inflict upon one another.

Call me crazy, but "On the Town" is more like "Alice in Wonderland" than an historical musical. Confronted with an enormous bridge on stage (that never goes away), the audience member soon should guess that she or he is not going to see 1944 realism. And that is a good thing. George C. Wolfe's ability to cast any show he produces or directs in unconventional and creative ways remains one of his strongest creative gifts. The "Keystone Cops" chase and the over-the-top performances of Lea DeLaria (Hildy Esterhazy) and Mary Testa (Madame Maude P. Dilly) are further clues that we are in the realm of metaphor and fantasy and not in a production looking to realistically recreate the mid twentieth century. It amazes me that the pre-show "word" about this new production was so negative and skeptical. It is so refreshing to see a director make brave choices and know when to make changes and when to ask for assistance and suggestions. The Public Theater is a theatrical entity willing to live on the creative edge and that willingness needs to be supported and encouraged.

All the music in "On the Town" is wonderful and very well presented by this dynamo of a cast. I particularly liked the haunting opening number by the Workman (Gregory Emanuel Rahming) and the Quartet, "Lucky to Be Me," and "I Can Cook Too," and the beautiful "Some Other Time" on the subway platform. Overall, the choreography was adequate but never outstanding. But there is so much more to this new production than dancing! There is a wonderful cast, a great orchestra, exciting costumes and lighting, impeccable timing, and creative and thoughtful direction by Mr. Wolfe. I cannot think of a better way to spend a holiday evening than in the Marquis Theatre seeing this impressive revival of an impressive musical.

Reviewed on Sunday, November 22, 1998

"ON THE TOWN"

Music by Leonard Bernstein. Book and Lyrics by Betty Comden and Adolph Green. Based on a concept by Jerome Robbins. Directed by George C. Wolfe. Choreographed by Keith Young. Set design, Adrianne Lobel; lighting design by Paul Gallo; costume design by Paul Tazewell; sound design by Jon Weston; hair design by David H. Lawrence; orchestrations by Bruce Coughlin; musical direction by Kevin Stites; music coordinator, Seymour Red Press; production manager, Peter Fulbright. Presented by the Joseph Papp Public Theater/New York Shakespeare Festival, George C. Wolfe, Producer at the Gershwin Theatre, 222 West 51st Street between Boradway and Eighth Avenue (212-307-4100 or 800-755-4000). Visit the Public Theater web site at http://www.publictheater.org

With: Jesse Tyler Ferguson (Chip), Tai Jimenez (Ivy Smith), Sarah Knowlton (Claire DeLoone), Robert Montano (Ozzie), Perry Laylon Ojeda (Gabey), Jonathan Freeman (Pitkin W. Bridgework), Annie Golden (Lucy Schmeeler), Mary Testa (Little Old Lady/Madame Maude P. Dilly), Nora Cole (Diana Dream/Dolores Dolores), Brad Aspel, Tom Aulino (Waldo Figment), Kristine Bendul (Pas de Deux Dancer), Stephen Campanella (Primitive Man), Kim Craven, Christopher F. Davis (Policeman), R.J. Durell, Dottie Earle, Jennifer Frankel (Diamond Eddie's Girl), Edgard Gallardo, Darren Gibson (Pas de Deux Dancer), Blake Hammond (Mr. S. Uperman), Amy Heggins, Jon Jellison (Subway Bill Poster), Sloan Just, Darren Lee, David Lowenstein, Linda Mugleston (Flossie), Wes Pope, Gregory Emanuel Rahming (Workman), Keenah Reid, Judine Richard (Primitive Woman), Rommy Sandhu, Scott Spahr, Dana Stackpole, Chandra Wilson Flossie's Friend), and Lea DeLaria (Hildy Esterhazy).

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