Nice Work If You Can Get It premiered on Broadway in 2012 and ran for just over a year. With a book by Joe DiPietro taking inspiration from works by Guy Bolton and P. G. Wodehouse, Nice Work If You Can Get It was created in order to create a show around songs from the George and Ira Gershwin songbook while they were still under copyright and able to generate royalties for the estate. The story created to fit around the songs involves a trio of bootleggers hiding booze in the presumed vacant apartment of a Manhattan playboy at the height of Prohibition. Throw in a spoiled socialite, a crusading Prohibitionist, and a rather dizzy Senator, add dancing and that great Gershwin music, and you wind up with this delightful production that closes the summer Weathervane Playhouse season.
Patrick Clements is the rich but rather spoiled and flighty Jimmy Winter. All he really has to do is show up and be handsome and suave, but that wouldn’t be much of a challenge for Mr. Clements; he dances like a fiend and proves himself adept at physical comedy. His voice is velvety and warm, proving that he is a real triple threat. I would think he would be perfect casting for a farce like Noises Off at some point once he’s done wooing all the ladies as the lead in every other show.
Molly Griggs is Billie Bendix, the bootlegger destined to fall in love with Jimmy. Ms. Griggs is perfectly sweet in the role though the part comes off as underwritten to me. She gives off a good sense of camaraderie with her fellow bootleggers in the play, and once again she wears her period garb well. I just wish she had more of the kind of funny moments reserved for the supporting cast in the show.
Kayla Walsh is pure trouble as spoiled Eileen Evergreen, and she milks every moment for all that it’s worth. This show is one that gives all the best moments to the supporting characters, and Ms. Walsh pounces on each moment she has to draw attention to herself. She steals every scene, but the book appears to be written with that as the intent. She frolics in a bathtub then slips through a trap door in the bottom to emerge elsewhere on stage headlining the song “Delishious,” the title of which may just as well apply to Ms. Walsh as it does her character. I can see her playing Vera Charles in Mame, or even Rose in Gypsy at some point.
Ms. Walsh’s co-star Ryan Metzger would be a perfect Herbie to her Rose, if any theatrical producers out there are reading this. Mr. Metzger plays Cookie McGee, one of the trio of bootleggers in the play. He masquerades as a butler for most of the story, saying all of the kinds of things people in service would love to say but wouldn’t for fear of getting fired. But Cookie isn’t really a butler, so he can really dish out the zingers and sarcastic remarks because he just doesn’t care, and Mr. Metzger is the perfect person to deliver them. His timing is down and voice carries just the right kind of intonation that can generate laughter even if you didn’t quite get what he said; you would know that it was funny just by the way it sounded, and so you laugh. Sure, the script gave him the lines, but it takes someone like Mr. Metzger to hit them out of the park.
Layne Roate plays Duke Mahoney, the third member of Billie’s bootlegging trio. Mr. Roate plays the wan and mopey secondary part with great skill even though he doesn’t have a lot of material from which to work. I really felt sorry for him when he was thrust into pretending to be a cook, perhaps because I can’t cook and having to make a large meal like he did would’ve caused me to break out. He has a kind of helplessness in the part that is endearing rather than annoying as it could’ve been had it been approached differently. After seeing Mr. Roate in four productions this summer at Weathervane Playhouse, I definitely think this was his best performance.
Other notable performances are by Rebecca Keck as the domineering pro-Prohibition crusader Estonia Dulworth, and Barbe Helwig as Millicent Winter, who arrives near the end of the show, revealing a secret that stops everyone in their tracks. The only slightly sore spot is Kirk Paisley as Senator Max Evergreen. Mr. Paisley knows his lines and his blocking, but he seems to be listening for his cues rather than listening to what the characters around him are saying. He seems to express only one emotion – that of surprise – and so I didn’t buy that he was really interested so much in what was going on. It’s not like he wrecked the play; he just stood out against all of the terrific performances going on around him
Jeremy Hollis’s set is impressive in size and design, opulent enough to pass for an upper class apartment but slightly off-kilter to be just right for some of the zany events in the plot. Some of the design embellishments aren’t perfectly symmetrical, and they shouldn’t be; this was an apartment that was rarely used and probably due for an overhaul anyhow. It still looks quite fancy and of the elite, however, and the way that the bathtub and has been integrated to serve the machinations of the story is quite impressive. As struck as I was by Mr. Hollis’s set for Dial “M” For Murder, this one is even better, laid out in such a way that every seat in the house is a good one for seeing the action.
Karen Sieber’s choreography is quite athletic and highly polished, definitely not for the faint of heart to tackle. She puts the cast through its paces with some tap routines that are quite engaging yet indicative of the period, and the cast seems to be having a grand time dancing up a storm rather than showing exhaustion like most of the audience would be were we to have to attempt the same feats. This is the kind of dancing that commands attention and applause, and Ms. Sieber is to be congratulated.
Director Adam Karsten has a firm grasp on this material and keeps the action moving at a brisk pace. Mr. Karsten artfully navigates that often tenuous transition to song from dialogue, and he keeps the tone light and cheerful. As a result, Nice Work If You Can Get It emerges as a real crowd pleaser, and one of the better examples of the “jukebox musical” genre. Perhaps this work is better than most jukebox musicals because most (if not all) of the Gershwin songs included were showtunes already, having been in shows of the day and popularized as standards since. People of all ages are familiar with quite a few of the songs already from their use in films and commercials; they aren’t “plot” songs like in most of the shows we have now, so the audience can just enjoy them rather than listen carefully for things pertinent to the story.
The audience at the performance I attended was engaged throughout and was having a grand time, as did I; there isn’t much more you can ask for in a production this inspired.
***/ out of ****
Nice Work If You Can Get It continues through to August 8th at the Weathervane Playhouse at 100 Price Road in Newark, OH (around 45 minutes outside Columbus), and more information can be found at http://weathervaneplayhouse.org/weathervane-playhouses-2015-summer-season/nice-work-can-get/