Reviewed by Judd
Hollander
Given the state of
things in the world today, one would think the time would be prefect for a
revival of the 1950 Broadway musical, Call
Me Madam. The show currently being given a such treatment as part of the
Encores! series at New York City Center
In Washington , DC
Sally is also about
to broaden her horizons, having just been appointed U.S. Ambassador to the tiny
country of Lichtenburg. A somewhat poor nation that's "too small to be a city
and too big to be a town", Lichtenburg is also a place on the cusp of change.
The younger generations wanting to move into the modern era, with the older
ones generally preferring to follow more traditional values - including dressing
in the more time-honored Lichtenburg apparel.
It quickly becomes
apparent that Sally, who has been instructed to improve relations between the
two countries, is ill-prepared for the restrictions of diplomatic protocol and
other international niceties. At times having a bull in a china shop mentality,
her preferred method of action is to simply throw money at whatever problem she
faces. A solution a visiting U.S. Congressional Committee readily agrees with,
but one which Cosmo Constantine (Ben Davis), a Lichtenburg official, is adamantly
opposed. A self-described holder of both liberal and conservative values, Cosmo
wants to get his country get back on its feet economically without any foreign
aid - or the strings that come with it.
Cosmo and Sally's
continual disagreement on this point soon threatens the internal stability in
Lichtenburg; there being those in Cosmo's government all too eager to accept
whatever the U.S.
Carmen Cusack and Ben Davis in Call Me Madam. Photo by Stephanie Berger
Offering a classic
fish out of water story, as well as a spoof of foreign relations, and peppered
with numerous political asides - many of which had the audience applauding - Call Me Madam is a slight and winsome tale,
which invokes a sense of nostalgia for a seemingly simpler time. However for
the show to work properly in this modern era, the property needs a top-notch
team to bring the story to life. This particular production unfortunately,
suffers from numerous missteps. Many of which are the responsibility of director
Casey Hushion, who seems unable to decide how to best showcase the material.
The various scenes often coming across as listless and disjointed, rather than
anything that feels like a continually flowing narrative. One also can't help
but wonder why some of the people of Lichtenburg talk with an accent and others
do not.
Another problem is
that Cusack is somewhat miscast as Sally. While she does a great job in the
role, and has a wonderful singing voice, her somewhat laid-back approach to the
character allows the weak points in the production to become more noticeable.
As opposed to Merman or someone else of that ilk, who would allow their personality
to really take over the part and thus draw the audience's attention to them,
rather than what was going on elsewhere on stage.
That's not to say there
isn't a lot to like in the show. The entire cast projects an infectious enthusiasm
in their performances and the Berlin
The Call Me Madam Ensemble. Photo by Stephanie Berger
Gotay and Worsham
are fine as Kenneth and Princess Maria, though neither character is
particularly well-developed. Completely stealing the show in what is basically a
glorified cameo are Darrell Hammond and Carol Kane as Maria's parents, the
Grand Duke and Duchess of Lichtenberg. Their appearance also helping to tie up
at least one major plotline.
Also deserving of
mention are Adam Heller, Jason Gotay and Brad Oscar, playing three members of
Congress who, like all good lawmakers, are quickly able to adapt to whatever
changing situations that come up. Such as responding to Cosmo's refusal of U.S.
Denis Jones'
choreography is enjoyable, as is Rob Berman's musical direction. Berman also
conducting the Encores! Orchestra, which gives its usual impeccable performance
here.
Call Me Madam, a reference to Sally Adams' title, Madame
Ambassador, offers a lot of enjoyment, and more than one political truism which
still resonates in today's world. However all too often, this Encores! offering
chugs along when it should soar and meanders when it should be tightly focused.
It's not so much a bad production as a missed opportunity.
Featuring: Carmen
Cusack (Sally Adams), Christopher Gurr
(Henry Gibson/Ensemble), Adam Heller (Congressman Wilkins), Jason Gotay
(Kenneth Gibson), Brad Oscar (Senator Gallagher), Stanley Constantine
Florrie Bagel
(Ensemble), Daniel Berryman (Ensemble), Taeler Elyse Cyrus
(Ensemble), Leslie Flesner (Ensemble), Ta’Nika Gibson (Ensemble), Leah Horowitz (Ensemble), Javier Ignacio (Ensemble), Max Kumangai (Ensemble), Matt Loehr (Ensemble), Brandt Martinez (Ensemble), Skye Mattox (Ensemble),
Timothy
McDevitt (Ensemble), Harris Milgrim (Ensemble), Bethany Moore (Ensemble), Mary Page Nance (Ensemble), Robert Roby
(Ensemble), Kathy Voytko (Ensemble), Sumi Yu
(Ensemble), Ricardo
A. Zayas (Ensemble).
Call Me Madam
Music and Lyrics by Irving Berlin
Book by Howard Lindsay and Russel Crouse
Scenic Designer: Allen Moyer
Costume Designer: Jen Caprio
Lighting Designer: Jason Lyons
Sound Designer: Scott Lehrer
Music Coordinator: Seymour
Original Orchestrations: Don Walker
Concert Adaptation: Bill Russell and Charles Repole
Production Stage Manager: Karen Moore
Casting: Binder Casting, Jay Binder CSA ,
Mark Brandon, Justin Bohon
Featuring: The Encores! Orchestra
Choreographed by: Denis Jones
Music Director: Rob Berman
Directed by Casey Hushion
Presented by
Encores! at New York City Center
Tickets:
212-581-1212 or www.NYCityCenter.org
Running Time: Two
Hours, 25 Minutes, with one intermission
Closes: Sunday,
February 10, 2019
Call Me Madam is presented through special arrangement with R&H Theatricals
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