Reviewed by Judd
Hollander
Pretty much
relegated to the dustbin of history, the Broadway musical High Button
Shoes is mainly remembered by theatre lovers and historians for its “Bathing
Beauty Ballet”. A classic piece of choreography by Jerome Robbins which opens
act two. The show itself not seen on Broadway since its initial run 1947, where
it notched an impressive string of 747 performances. Sadly, a recent revival by
Encores! at New York City Center showed why this work is unlikely to again
grace the stage anytime soon.
Set in 1913, High
Button Shoes tells the story of perennial confidence man Harrison Floy
(Michael Urie) and his partner/shill, Mr. Pontdue (Kevin Chamberlain). After
several close brushes with the law, the two head for Harrison ’s boyhood home of New Brunswick , New Jersey . Once there, Harrison passes himself off as a salesman extraordinaire,
and re-ingratiates himself with the well-to-do Longstreet family - whom he used
to work for years earlier. In short order, Harrison ensnares the entire town in a real estate
scam. His plan being to fleece as many folks as possible before he and Pontdue
hop a train out of town.
(L-R) Kevin Chamberlin and Michael Urie in the Encores! presentation of High Button Shoes.
Photo by Joan Marcus
At the heart of High Button Shoes are several themes
with a clear and simplistic moral tone. Such as a warning not to take advantage
of others, even when it would be clearly quite lucrative to do so; and how true
love will eventually win out. Yet while there certainly is potential in the
material, in the Encores! production, it all pretty much falls flat. Stephen
Longstreet’s book feels tired and clunky, with almost no character development,
and precious little else to hold one’s interest. John Rando’s directorial
efforts are also rather lackluster. Particularly in being unable to inject any
element of nostalgia into the proceedings. Something one assumes was a big selling
point to 1947 audiences. The sets by Allen Moyer and costumes by Ann Hould-Ward
also never really rise above the mediocre.
The biggest problem
of all is with the character of Harrison .
While Urie has previously proven himself quite accomplished in both dramatic
and comedic roles, in High Button Shoes, he seems completely out of
his depth. He also channels Phil Slivers, as evident in the character's speech
and movements. Silvers playing Harrison in
the 1947 production. Unfortunately, none of Urie's efforts yield any of the roughish
charm or caustic wit which might have made his interpretation at least somewhat
appealing. His efforts instead coming off as annoying and vapid. Not a good
thing when said character is at the center of the story.
The High Button Shoes Ensemble. Photo by Joan Marcus
Other
characterization problems in the show include a complete lack of chemistry
between Harrison, Fran and Oggle; as well as no explanation of why Sarah
demonstrates a complete trust in Harrison
from the very beginning. The latter issue running counter to the character's otherwise
cautious and level-headed nature.
The music by Jule
Styne is pleasant enough but unmemorable, as are the lyrics by Sammy Cahn. Not
surprisingly, the highlight of this production are the different numbers which
feature the Robbins choreography, as excellently staged here by Sarah O’Gleby.
Quite amusing indeed
was the “Bathing Beauty Ballet” - a roughly 10-minute piece done in a frenetic Keystone
Cops style. The sequence following Harrison, Pontdue and Fran as they descend
on Atlantic
City ,
only to be pursued by the police and some of the people from Longstreet. Though
without the audience being given a chance to connect with the various
characters, and thus start to care about them, the piece loses much of its
charm. Far more effective was the gentle duet “I Still Get Jealous”, where Sara
and her husband recall how much they still care for one another after many
years of marriage. It must also be said that the Encores! Orchestra, under the
very capable hands of music director and conductor Rob Berman, is never
anything less than superb.
High Button
Shoes may have been a
hit once upon a time, but it needs a complete overhaul to make it anything more
than a passing interest today. An interest which is forgotten almost as
soon as the final curtain comes down.
Featuring: Michael
Urie (Harrison Floy), Kevin Chamberlin (Mr. Pontdue), Matt
Loehr (Uncle Willy), Chester Gregory (Papa Longstreet), Aidan Alberto (Stevie), Carla Duren (Fran),
Betsy Wolfe (Sara Longstreet (Mama)), Marc Koeck (Oggle), Mylinda Hull (Nancy ), Jennifer Allen (Shirley Simpkins), Wayne Pretlow (Elmer Simpkins).
Ensemble: Ward
Billenisen, Sam Bolen, Colin Cunliffe, Nicholas Cunningham, Taeler Elyse Cyrus,
Christine DiGallonardo, Michael Everett, Ta'Nika Gibson, Berklea Going, Marc A.
Heitzman, Lea Horowitz, Cajai Fellows Johnson, Robin Masella, Skye Mattox,
Kaitlin Mesh, Justin Packard, Nathan Andrew Riley, Blakely Slaybaugh, George Slotin,
Madison Stratton, Shaun-Avery Williams
High Button
Shoes
Music by Jule Styne
Lyrics by Sammy
Cahn
Book by Stephen Longstreet
Original
Choreography by Jerome Robbins
"Bathing
Beauty Ballet" and "I Still Get Jealous" choreographed by Jerome
Robbins and staged by Sarah O'Gleby
Scenic Designer:
Allen Moyer
Costume Designer:
Ann Hould-Ward
Lighting Designer:
Ken Billington
Sound Designer:
Scott Lehrer
Music Coordinator: Seymour Red Press
Original
Orchestrations: Philip Lang
Concert Adaptation:
Jack Viertel
Production Stage
Manager: Peter Lawrence
Casting: Binder
Casting, Jay Binder CSA ,
Mark Brandon, CSA , Justin Bohon, CSA
Featuring: The
Encores! Orchestra
Choreographed by
Sarah O'Gleby
Music Director: Rob
Berman
Directed by John
Rando
Encores! at New York City Center
Performed: May
8-12, 2019