“How to to succeed … ” Well, first of all, go to North Fork Community Theatre and “without even trying” you’ll succeed in adding two hours of joy to your life. Then, driving home, sing what you remember of “I Believe in You,” furtively glancing at your own image in the rearview mirror.
The ingenious Pulitzer Prize musical “How to Succeed in Business Without Really Trying” is the work of the theatrical giants Cy Feurer, producer; Abe Burrows, writer; and the great Frank Loesser, who provided the memorable music and lyrics.
‘How to Succeed in Business Without Really Trying’
North Fork Community Theatre
Old Sound Avenue, Mattituck
Performances continue March 22, 23, 24, 25, 29, 30, 31 and April 1. Thursday-Saturday, 8 p.m. Sunday, 2:30 p.m. For tickets, call 298-6328 or visit nfct.com.
Its brilliant satire, sharp but appealing, shares its ’60s sensibilities with the hit TV show “Mad Men” (which, incidentally boasts the original star of “How to Succeed,” Robert Morse). The material was originally from a book by Shepard Mead entitled “The Dastard’s Guide to Fame and Fortune” and makes fun of the treacherous path up the corporate ladder. Frank Loesser said he liked the idea of making money by making fun of people devoted to making money.
One of the reasons to go see the NFCT production is the role of J. Pierrepont Finch, performed by the personable, inventive, likable charmer Michael Hipp. We watch enchanted as he advances from window washer to chairman of the board.
Rosemary, who desires to be his corporate wife, is played by Tara McKenna with dedication and aplomb. It demands a stretch of the imagination for a 2012 woman to convince us she is a female of 1960 — especially in numbers like “Happy to Keep His Dinner Warm” and “A Secretary Is Not a Toy.”
Peter Peterson is excellent as the boss’ nephew and Lindsey Scoggin is the only actor up there who is completely believable as a businessman. He provides the whole production with a basic standard from which the comedy can take off. Sherry Powers does the same for the secretaries.
David Markel, who consistently provides the NFCT with excellent performances, gives his best yet here as J.B. Biggley. He creates a hilarious and original characterization which is delightful. Jan McKenna as Hedy LaRue is a great audience favorite and her duet “Love From a Heart of Gold” with Mr. Markel is exactly right, skillfully funny with a dash of sincerity.
Other rewarding moments are Marguerite Volonts’ surprising and memorable contribution to “The Brotherhood of Man,” Luke Sisson’s perfect game show announcer and Amanda Mouzakes’ wonderful scrubwoman. The rest of the company includes Samantha Payne-Markel, Charlie Lehner, Lon Shomer, John Hudson, Heather Cusack, Brandon Hollborn, Corinne Araneo and Becca Mincieli.
Unfortunately, the show as a whole is slow and laborious, although intermittent numbers and scenes sparkle.
America’s great contribution to the theater is how our musicals are models of integration. They cement story, lyrics, acting, singing and dancing, creating a closely woven continuity.
The piano cannot run out of cover music, and an actor must not run out of words before he gets to his exit; the audience must not sit in quiet darkness, ever. The answer to all these problems is divinely inspired cuts. Don’t be afraid to cut; be afraid not to.
We are all aware of NFCT’s admirable endeavor, now nearing its deadline, to buy its theater building. You can do your part in supporting that endeavor by buying tickets to see this lively show, directed by Bob Beodeker and produced by Mary Motto Kalich. You won’t be disappointed.