Theatre review: Royal City Musical Theatre’s Crazy For You conjures golden-era Broadway magic
Top-tier tap dancing and intricately staged numbers make for the kind of splashy musical rarely seen in this town
Todd and Rabecca Talbot pull off some impressive footwork in Crazy For You. Photo by David Cooper
Royal City Musical Theatre presents Crazy for You at the Massey Theatre until May 14
IT’S BEEN A long time since Metro Vancouver has been treated to a locally-produced splashy Broadway musical at the calibre of Royal City Musical Theatre’s Crazy For You. This show offers first-rate performances, grand-scale costumes and sets, and classic Broadway magic under the leadership of renowned director and choreographer Valerie Easton.
It should also be noted that this production has been a long time in the making—originally scheduled to run in the spring of 2020, the show was already in tech rehearsals when the COVID-19 shutdown occurred. Finally bringing this production to the stage, with mostly the original cast, creative team, and crew, is a personal victory for everyone involved.
Featuring golden-era songs written by George and Ira Gershwin, Crazy For You begins in 1930s New York, where we see Bobby Child (Todd Talbot) struggling to adhere to his domineering mother’s (Michelle Collier) expectations for him to take over the family banking business, when what he really wants to do is dance. Specifically, he wants to perform for producer Bela Zangler (a spoof on Florenz Ziegfeld, Jr. of Ziegfeld Follies). Ordered by his mother to go to the small town of Deadrock, Nevada, to foreclose on a theatre—and motivated to also escape his fiancé Irene (Sarah Lane), whom he has no intention on marrying—Bobby agrees.
Deadrock turns out to be a sleepy town full of deadbeat cowboys and one woman, Polly Baker (Rabecca Talbot). When Bobby arrives, he instantly falls in love with Polly and suggests putting on a show in the theatre to bring in revenue and avoid its foreclosure. To win Polly over, Bobby devises a scheme and mistaken identity and plot twists ensue, in classic romantic-comedy formula.
A Tony Award-winning musical, Crazy for You is considered a gem in the Broadway musical arsenal for its spectacular tap-dance numbers, glitzy sets and costumes, and quick–witted comedy. This production masters all of these elements—a feat that’s difficult to achieve; the knowledge and talent base for orchestrating this style of theatre is fading away due to declining opportunities and budgets to stage these types of shows.
In commending the merits of this production, one has to start with leading couple Todd and Rabecca Talbot, the two standout triple threats in the roles of Bobby and Polly. Todd is charming and likable as Bobby and his dancing is phenomenal. From leading show-stopping tap numbers such as “I Can’t Be Bothered Now” to his smooth soft-shoeing in “Nice Work If You Can Get It”, he showcases top-tier dancing—his technique is impeccable, from tapping to pirouettes—and performs with great showmanship. His wife Rabecca offers a balance of feistiness and sensitivity as Polly, and her singing is exceptional. A highlight is her rendition of “But Not For Me”, where she takes a classic Gershwin song (like all the other songs in the show, this song wasn’t specifically written for Crazy for You) and makes it believable for her character, with heartfelt emotion and exquisite vocal delivery. Another highlight is watching Rabecca and Todd float across the stage in “Shall We Dance”.
Broadway choreographer Susan Stroman’s work is considered iconic in the industry. The parade of Zangler Follies dancers coming out of a car at the start of “I Can’t Be Bothered Now”; the use of ropes and Zangler girls to create double basses in “Slap that Bass”; and the percussive use of spoons and tin plates in “I Got Rhythm” are Broadway staples; they’re what audiences long to see in Crazy For You, akin to witnessing the barricade scene in Les Misérables (coincidentally spoofed here as well).
Easton, one of Canada’s premiere musical choreographers, has worked her mastery here. The tap sounds are clear and precise, and Easton expertly adds depth to musical numbers through clever dancer formations, filling the large Massey Theatre stage with interesting, character–driven visuals. Closing out Act One, “I Got Rhythm” utilizes every inch of the stage, featuring outstanding, energized company performances under the leadership of dance captain Joscelyne Tamburri.
Pleasingly, the often slapstick comedy in this show is spot on, from the over-the-top play fighting of the cowboys in the saloon to the wonderfully timed shtick between Todd Talbot and Kirk Smith as Zangler, when the characters unknowingly mirror each other.
Set designer David Roberts’ set pieces bring to life the glitzy New York theatre district, and Deadrock’s theatre and saloon. His multidimensional set pieces are rotated to bring us to various locations without interrupting the action. Costume designer Donnie Tejani has expertly re-created the well–known looks of this show, including the fluffy pink Zangler Follies showgirl costumes; the local cowboy attire; and Polly’s flowing evening gown.
The historic Massey Theatre enhances the retro stylings, with its gorgeous red velvet curtain and orchestra pit. Under the leadership of long-time Royal City musical director James Bryson, it’s a joy to hear the Gershwin score played by this fine orchestra.
Related Articles
