In October 1950, Call Me Madam became the first Broadway show to surpass $1 million in ticket sales prior to opening. The musical starred the already legendary Ethel Merman (Annie Get Your Gun, Girl Crazy) and was directed by George Abbott (On the Town, Pal Joey). The choreography was pre-West Side Story Jerome Robbins. Irving Berlin (1,500 songs!) composed the score with Howard Lindsay and Russel Crouse (Anything Goes, Life With Father) writing the book. Big credentials created this vehicle which had been specifically designed for the Merm who won a Tony for her performance.
A brash Texas oil heiress is named as Ambassador to the fictional country of Lichtenburg, a place where they make babies and cheese. As can be found in many old-school formulaic musicals, there is a love interest for the leads and another love interest for a pair of dewy eyed youngsters. The Encores! series gives these shows a chance to be revisited for a week. While Call Me Madam didn’t knock me out of my seat like Paint Your Wagon or Zorba! did a few years ago, I completely enjoyed myself watching the final performance of this revival.
The plot is simple. As the new Ambassador from a bombastically wealthy America, Mrs. Sally Adams (Carmen Cusack) travels to and falls quickly for Cosmo Constantine, the Foreign Minister of financially struggling Lichtenburg. The imaginary story was a very thinly veiled reference to D.C. society doyenne Perle Mesta who had recently been appointed Ambassador to Luxemboug. As Cosmo, Ben Davis was regal and in great voice. He had a sexy chemistry with an amusing Ms. Cusack (Bright Star) who seemed slightly challenged by the booming vocal requirements of the role. More a wise-cracking socialite than a boisterous Texan, she landed the jokes firmly. “My mother always told me when in danger cross you legs.” The kids, however, stole the show.
Lauren Worsham (A Gentleman’s Guide to Love and Murder) humorously played Princess Maria, the protected daughter of the realm. She falls hard for Mrs. Adam’s assistant, Kenneth Gibson (Jason Gotay). The role of Kenneth has the show’s two best songs, the duets “It’s A Lovely Day Today” with the Princess and “You’re Just in Love” with his boss. In a musical nearly seventy years old, Mr. Gotay made the role sparklingly fresh and very funny. His singing was even better, noticeably appreciated by the enraptured audience. Last November, I saw this actor in Transport Group’s extraordinary Renascence. While that turn was also excellent, this one should put him squarely in the category of New York’s top drawer musical theater performers.
Carol Kane (Taxi, Unbreakable Kimmy Schmidt) and Darrell Hammond (SNL) added to the fun as the goofy royalty of this small country. Ensemble numbers such as “The Ocarina” and “Lichtenburg” were pleasing with enjoyable choreography by Denis Jones. A show like Call Me Madam requires a willingness to settle down in one’s seat and let old school wash over you. The evening is not a revelation but instead an celebration of popular musical comedy entertainments from the past.
For the 75th anniversary of New York City Center, Encores! has produced its first repeat. Call Me Madam starred Tyne Daly during the series’ second year in 1995. The critics were mixed when this show first opened. For this particular revival, they were largely negative. I thought this production was charming nostalgia. I soaked in the bath of old school and it was indeed a lovely day.
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