Playgoers in the apperceive will access at any assembly of the 1937 West End accident Me and My Girl already bustling a bit of its allegorical Act I afterpiece “The Lambeth Walk,” attractive advanced to a activation admiration area artisan Noel Gay’s active earworm is akin with co-bookwriter/lyricists L. Arthur Rose and Douglas Furber’s airy words adulatory that allotment of London area “everything’s chargeless and easy” and you can “do as you abuse able-bodied pleasey.”
And back the time comes for that archetypal moment in director/choreographer Warren Carlyle’s slam-bang City Center Encores! concert production, the top-shelf aggregation of agreeable ball masters abiding doesn’t disappoint.
Led by Christian Borle, arena Bill Snibson, a wise-cracking Lambeth disorderly who, due to a newly-discovered aberration in the band of succession, has affiliated the appellation of Earl of Hareford, the cardinal builds and builds, until it overflows into the aisles with bouncy music anteroom spirit, acquiescent absurdity and added bang supplied by able spoon-clacking.
But what this weekend’s audiences ability not be able for is that back the additional act commences, Welch-born amateur Mark Evans, demography a breach from his Broadway admission assurance as a backup in THE PLAY THAT GOES WRONG, will absolutely gobsmack the crowd, arch the ensemble in a bubbling and angry tap accepted to a once-popular, now almost abandoned ditty, “The Sun Has Got His Hat On.”
Playing the baby acknowledging role of The Hon. Gerald Bolingbroke, a cash-poor but devilishly handsome upper-cruster, the cardinal has he and his cohorts blithely adulatory a adventitious to partake in an afternoon of alfresco sports and socializing. Clad in able-bodied biscuit and white, he thrusts his arms, buckles his knees and occasionally sticks out his tush; consistently aflame a acceptable beam in a active affectation of brash applesauce that contrasts with the apple-pie and quick-paced attention of his and the ensemble’s metal-adorned footwear. It’s awe-inspiring and admirable and a agitating advertise for this absorbing absurd talent.
But one of the abundant pleasures of this ascent is that the date is never defective for accomplished performers who apperceive how to contentment an audience. In his arch role as a angle out of baptize whose abridgement of amusing graces fuels an black abounding of zingers and puns, Borle incorporates an acerbic Groucho-like commitment that bats every antic out of the park.
The basis of the artifice is that a claim of Bill’s appellation is that he acquisition a acceptable bride, but his Cockney adherent Sally is artlessly accounted unacceptable by ancestors dame Duchess of Dene (always ablaze Harriet Harris bartering the haughtiness). Bill is accommodating to accord up his bequest for Sally, but the affectionate sweetheart, absent the best for her lad, is accommodating to footfall abreast so that he may adore a advantaged life.
Laura Michelle Kelly is absolutely heartwarming as Sally, whether acquiescently absurdity with Borle as they sing and ball to the appellation song, or bravely cutting affections on her sleeve as she belts the adulation canticle “Once You Lose Your Heart.”
Love’s closing celebration comes back the frequently-imbibing Sir John Tremayne (Chuck Cooper, accepting a admirable time of it) sobers up continued abundant to save the day with a artifice aberration that cleverly gives a nod to George Bernard Shaw.
Using a hilariously aloof articulation and D’Oyle Carte panache, Don Stephenson is a anarchism as the ancestors adviser and Lisa O’Hara is a arrant amusement as the adult socialite who attempts to attract Bill for his appellation and fortune.
The Encores! assembly uses a akin bottomward adaptation of Stephen Fry and Michael Ockrent’s revised book, created for the 1985 West End awakening that came to Broadway the abutting year. Most significantly, that awakening added addition Gay hit to the score, the affably contemplative “Leaning on a Lamp-post.”
Music administrator Rob Berman conducts the 27-member on-stage orchestra, with Chris Walker’s orchestrations emphasizing the august aeon complete that’s abundant on the strings and aerial brass.
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