“No, No, Nanette” at Encores!
It was like being at a pink or blue baby shower; everything was warm and fuzzy. Not a nasty song, dance or line of dialogue to be heard. The Encores revival of this 1920s popular show “No, No, Nanette” was so cushy and non-threatening that it actually was a welcome change of pace from the entertainment fare currently on the boards. In no small measure this was accomplished through Randy Skinner’s choreography, which stayed true to the period and was oh so peppy. This is the same Randy that scored mightily with the last revival of “42nd Street,” and who was once Gower Champion’s protégée. There was not a misstep or rather a “miss tap” to be seen. Here was the old-fashioned musical that new generations could feast on. A bit of dialogue in a scene and then a big dance number with a chorus of 12, or a nice soft-shoe pas de deux pulled off with Fred and Ginger expertise by Michael Berresse and Beth Leavel. (Leavel was unfortunately miscast – the lady can sing but she is no Ginger or Tony-award winning Helen Gallagher, of the 1971 revival.) Berresse seems to be today’s answer to Gene Kelly. He is simply wonderful in the role of the canny lawyer, Billy Early, a hit-the-deck dancer who can sing and deliver funny lines with a natural comic timing. He creates a wonderfully slick character.
Now with songs like “Tea for Two,” “I Want to be Happy,” and lyrics like “life is worth living when we are mirth giving,” what could be wrong? That’s it! Nothing! Add Rosie O’Donnell pushing a vacuum cleaner to open the show, and you have a couple of hours of blissful entertainment, most of which has not passed our way in a long time.
Mara Davi & Shonn Wiley in "No, No, Nanette."
Photo by Joan Marcus
Encores, the living museum of Broadway musicals, regularly revives the best of the past in musical theatre. Right now two shows raking in box office receipts on Broadway, “Gypsy” and “Chicago,” were born in Encores, and are leading a glamorous life all over again. The mission of Encores, as stated by Jack Viertel, the artistic director, is “to mount shows one might otherwise never see again. It is a moral and aesthetic responsibility to keep this material alive. Musical theatre [is] totally an American concept. It has Oscar Hammerstein as its chief architect, and a whole world of people who made it so original.”
Viertel insists that if their revivals do move to Broadway, it is a nice ending, “But Encores is not a business venture. Along with the successes we also do shows that have no chance of moving to Broadway.” Although “Nanette” hasn’t had the “go-ahead” yet, the critics were effusive, and word on the street is that there is a mighty chance it will be joining the two aforementioned hits in the future.
Following in the great Ruby Keeler’s tap shoes (from the last revival in the ‘80s) is Sandy Duncan, the chirpy perennial goody-two-shoes with both feet in high gear. She kicks, jumps, smiles (a lot) and raises herself to the highest showbiz level as the protective Aunt Sue to her ward, Nanette. In the title role, Mara Davi, a super dancer, is a touch too bland in her portrayal, and we don’t believe for a minute she hasn’t lived the high life already. The bangs on her forehead aren’t enough to give her the ‘20s innocence. Playing opposite Nanette is Tom (Shone Wiley). The pair is in overkill on cutesy. But then again, that is what this show is all about. Their second act duo to “Tea for Two” is a remarkable Skinner creation. Walking hand in hand, they perform a “shuffle off to Buffalo” tap sequence right out of MGM movies. It was an eye-filling choreographic pleasure much like sipping a root beer float - oh so satisfying after a steady diet of lattes.
If you are a dancer or dance student, the Encores productions are not-to-be-missed events. If you are a fledgling choreographer landing an assignment for one of these shows, it is a ticket to getting noticed. The assignment to structure dances once done by icons like Bob Fosse, Ron Field and Michael Bennett is daunting, but what better experience because critics, producers and directors are always in attendance. Houses are sold out. Both dancers and choreographers are noticed and reviewed, and word of mouth lands them many a future job. If a choreographer can pull off an Encores, with the imposed space and rehearsal time limit, s/he has immediately added a big plus to his or her resume.
Keep an eye open for “Damn Yankees,” the next Encores production to be given a summer season with a full Broadway cast. Though Viertel may not want to admit it, it’s a perfect revival for a Broadway run.