Gershwin’s Follies Steal The Show

It’s hard to get terribly worked up about this predictable play, which does not exactly have the benefit of hilarious dialogue (“I tap danced for ten years.” “Wow—I get tired after ten minutes!”) a tight plot (the Fodors, of guidebook fame, show up in town apparently for the sole purpose of allowing Ludwig to work in a particular musical number), searching character portrayals (“I want to dance! I don’t care about money.”), or deep emotional investment (“I’m happy as a pup / Since love looked up at me”). The main enjoyment comes from the songs; book writer Ludwig has managed to work the Gershwins’ most popular numbers into the libretto, including “Embraceable You,” “I’ve Got Rhythm,” “They Can’t Take That Away From Me,” and “Nice Work If You Can Get It,” making the musical into a Gershwin hit parade.

The other main draw of this production is its acting. As the heroine Polly, Amanda M. Gann ’06 is the star of the show, with outstandingly clear, fine and well-phrased singing; limber dancing; and a portrayal of a self-reliant and independent but not stubborn young woman. As the other women in Bobby’s life, Joanna D. Goldstein ’06 and Diana K. Bowen ’04 are equally excellent. Goldstein, playing Bobby’s domineering and sexy fiancée Irene, becomes a tiny bundle of sheer outrage over something as small as a cold cup of coffee, but is best when pitted against Bowen, who plays Bobby’s dragon-like, imperious mother and can command the stage with a single cry of “Bo-BBY!” As Bobby, Jeff Barnett has a gawky charm eclipsed by the sophistication of his beloved, though there’s not much chemistry between them. As Polly’s father Everett, Evan A. North ‘05 manages to turn the plainest lines into jokes with his slow, painfully thoughtful delivery. The Follies are appropriately bouncy, and the cowboys, fully aware of being self-parodies, stage fake shootouts in the saloon and discuss the symbolism of Eugene O’Neill between folksongs.

The beginning of the play has a staccato feel, as every song is broken up by bits of dialogue and every scene ends with a clunky set change. As the evening progresses, however, the set changes become less frequent and the action more compelling.

To enjoy Crazy for You, it helps to really like tap-dancing. There is an awful lot of it and it is very loud. There is, however, some impressive legwork, including some remarkable jumps, particularly on the part of Bobby. The choreography (by Kristi L. Jobson ’06, Kim M. McCarthy ’04, and Mariecel C. Pilapil ’05) is worth mentioning, if only to say that it much more suggestive, especially during a rendition of “Slap that Base,” than you might expect from such a 30’s-style musical.

—Crimson reviewer Alexandra D. Hoffer can be reached at hoffer@fas.harvard.edu