Irving, the oldest of old pros, who made his Broadway debut in the original cast of "Oklahoma!" and appeared 33 years later in the original cast of "So Long, 174th Street," as "Enter Laughing: The Musical" was originally known. It includes such familiar faces as Jill Eikenberry and Michael Tucker, formerly of "L.A. Ross's cast is so fine that you'll laugh even harder. Stein's book is so well made that you'll laugh anyway, and Mr. Daniels's score were better! His songs are both undramatic (most of them are cabaret-style specialty numbers that stop the action dead in the water) and unmelodic (the tunes are reminiscent of Mel Brooks on an off day). Stein on a Broadway musical based on "Enter Laughing." It opened in 1976, closed two weeks later, and has now resurfaced in a modest but hugely effective production that makes the most of the show's manifold comic virtues, nearly all of which are to be found in Mr. A few years later, Stan Daniels, a much-admired comedy writer who worked on "The Mary Tyler Moore Show" and "Taxi" but longed to write songs, collaborated with Mr. Joseph Stein, who is best known for having written the book for "Fiddler on the Roof," turned "Enter Laughing" into a hit play in 1963 and a not-so-good film (co-written with Mr. It's a charmer, cleverly staged and choreographed by Stuart Ross ("Forever Plaid") and acted by the best cast in town. Reiner is an elder statesman of comedy, and the York Theatre Company, which usually specializes in small-scale Off-Broadway mountings of new musicals, has revived " Enter Laughing," the 1976 musical version of his semi-autobiographical 1958 novel about David Kolowitz (Josh Grisetti), a geeky, star-struck kid from the Bronx who longs to become an actor.
#SUSANNAH FLOOD PARTNER TV#
Remember Carl Reiner? You do if you owned a TV back in the days when he was a regular and welcome presence on "Your Show of Shows" and "The Dick Van Dyke Show." Now Mr. Just as fine are Ilona Somogyi's festive costumes and the incidental music of James Paul Prendergast, which tinkles and tintinnabulates to properly mysterious effect.
Her design is simple - a forest, a small platform, a window that seems to float in midair, and a trapdoor that is put to ingenious use - but magical. Sometimes a set makes a show, and Rachel Hauck, who designed the Pissarro-influenced production of "The Winter's Tale" that I saw and loved at the Oregon Shakespeare Festival two seasons ago, has outdone herself this time around.
Peterson's modern-dress version, the mere mortals reside in the never-never land of '50s family sitcoms, while Fairyland is a cross between "Peter Pan" and "Lord of the Flies," a land of raucous, grubby-faced children who speak and sing in unison and tumble about the stage with unholy glee. Lisa Peterson, a well-established director whose work is new to me, has put a winningly new spin on the timeless tale of two troubled young couples who wander into an enchanted wood, run into a gaggle of mischief-making fairies, and emerge unscathed and happy.
Johanna Day in 'A Midsummer Night's Dream'
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