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A Most Happy Fella
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Ball, Barzee
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By Melinda Schupmann
In May, 1956, Frank Loesser premiered a new Broadway production that was unlike the conventional musicals of that time. Instead of interrupting the dialogue with songs that enhanced the plot line, his storyline was developed through the eclectic mix of songs that made up The Most Happy Fella. Deemed opera quality by many critics, it provided a rich and joyous mix of arias, dances, recitatives, and pop tunes encompassing over thirty musical numbers. Reprise! Broadway's Best thankfully has delivered another in its successful revivals giving current audiences a taste of the "golden" era.
Tony (George Ball), a successful vintner in the Napa Valley in California, is longing for a wife. On a trip to San Francisco he spots a waitress who inspires him to write and propose. When she asks for a picture, he sends a photo of his young hired hand, Joe (Rodney Gilfrey.) Amy (Anastasia Barzee), called Rosabella by the smitten Tony, agrees to the marriage. When she arrives, Joe doesn't appear to recognize her and Tony has been in an automobile accident, breaking both legs. She realizes that she has been tricked, but sees no way out of the marriage In an impulsive moment, Joe and Amy sleep together. As time goes by, however, she begins to fall in love with the big-hearted Tony. Then she learns that she is pregnant by Joe, making her ashamed and determined to leave. The hurt but forgiving Tony begs her to stay, telling her that he will be proud to have people think that the child is his.
Based on the slightly more serious Sherwood Anderson play, They Knew What They Wanted, Loesser determined to enhance the emotional power of the story with his varied musical numbers. The most familiar number is the 50's hit "Standing on the Corner" sung by a quartet of guys watching pretty young girls walk by. "Happy to Make Your Acquaintance," a charming duet between Tony and Amy; and "Big D," the thigh-slapping production number with Amy's friend Cleo (Jennifer Leigh Warren) and her beau Herman (Kevin Earley,) are also more mainstream numbers. The real pleasure in the score is, however, some of his lesser known numbers.
A cheerful trio of Italian waiters deliver one of the audience favorites, "Abbondanza," combining humor with big doses of hearty enthusiasm. Another lovely interlude is provided by Amy and Tony with "My Heart is So Full of You."
The casting of Gilfrey as Joe seems to be a miscalculation in the production. His incredibly rich baritone is almost too textured for his characterization of Joe, and he comes off as awkward and ill at ease. The haunting "Joey, Joey, Joey" comes across as a music lesson exercise rather than carrying any emotional weight.
Warren is suitably cute in her saucy characterization, but the real stars are Ball and Barzee. Ball is just appealing enough to make believable the notion that a young woman would fall in love with him, and just old enough to make the growing attraction a stretch for her. Barzee is a natural. Fresh and unassuming with a lovely voice, she adds subtle nuances to her role in this demanding and complex musical.
Loesser's book, music, and lyrics stand up pretty well after 50 years. Musical Director Peter Matz is in good form, and Kay Cole's choreography does the job. Arthur Allan Seidelman's rather generic direction adds little character to the staging, though it fulfills the mandate of Broadway delivered without frills.
Reprise! Broadway's Best at UCLA Freud Playhouse, Macgowan Hall. Tickets at 310/825-2101. Tues.-Sun. November 6-November 18. $55-60.
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