Tony Danza (seated) and Rob McClure in Honeymoon in Vegas – The Musical at the Paper Mill Playhouse, Millburn, New Jersey
Honeymoon in Vegas – The Musical continues at the Paper Mill Playhouse, Millburn, New Jersey until 27 October.
Honeymoon in Vegas – The Musical, like many musicals today, is based on a hit movie, but this world premiere is insanely funny for a change. A throwback to another time, it’s about a guy whose Las Vegas honeymoon is hijacked by a hotshot gambler chasing his fiancée. A new musical comedy with an original score is something of a dying breed, especially one boasting a Rat Pack-flavoured sound, and the added surprise is that it has been written by one of the foremost composers of contemporary Broadway, Jason Robert Brown, known for more serious shows (Parade, The Last Five Years).
Brown has seldom ventured into feel-good musical comedy and he’s surprisingly brilliant at delivering traditional musical songs that may, like back in the day, live forever. Not exactly famous as a song and dance man, TV star Tony Danza can really carry a tune and aptly handle soft shoe routines as unscrupulous gambler Tommy Korman.
Rob McClure, Tony nominee for Chaplin last year, shines vocally in the central role of Jack Singer (who swore to his mother on her deathbed that he would never get married), as does Brynn O’Malley, recently seen in the Annie Broadway revival, as his girlfriend Betsy. They both form the perfect romantic couple with a welcome twist. In supporting parts Matthew Saldivar and David Josefsberg are equally efficient. But it is Nancy Opel as the ultimate overbearing possessive mother who steals the show.
In its celebration of a glitzy and brassy Las Vegas, Honeymoon never loses its sense of humor. ‘Never Get Married’ is irresistibly hilarious, as is Act II’s ‘Friki-Friki’, a duet between McClure and O’Malley. The book is handled well by Andrew Bergman, who wrote and directed the film, while direction is in the capable hands of Gary Griffin, always smooth without trying to copy the movie.
This unpretentious and constantly entertaining musical is greatly helped by the ever-effective choreography of Denis Jones. Scenic design by Anna Louizos, costumes by Brian Hemesath and lighting by Paul Miller are equally of an excellent Broadway-caliber. We can only pray for a Broadway transfer of this feel-good but intelligent and high-quality musical comedy after its Paper Mill run. May it have the fate of Newsies rather than that of Catch Me If You Can and The Wedding Singer, similar comedies that too quickly faded on the Great White Way.
Patrick Honoré
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