Personable monarch informs new staging of ‘The King and I’

Photo: Jeremy Daniel
The King of Siam (Jose Llana) and Anna Leonowens (Elena Shaddow) take a spin around the dance floor in The King and I. (Photo by Jeremy Daniel)

By Richard Ades

When theater companies want to bring new life to a familiar work, they often rely on obvious changes. A recent example is Opera Columbus’s production of Gluck’s Orphee et Eurydice, with its surreal scenery, avant-garde instrumentation and virtual chorus. And, of course, there are any number of Shakespearean productions that move the action to a different locale, time period or both.

The Lincoln Center Theater and director Bartlett Sher take a different tack with Rodgers and Hammerstein’s The King and I. The musical is still set in Siam (now Thailand) in the 1860s and still focuses on the evolving relationship between an authoritarian king and a widowed British teacher who’s hired to tutor his many children. But there’s a subtle difference from earlier productions, and certainly from the 1956 movie starring Deborah Kerr and Yul Brenner.

It mainly can be found in the character of the king. As wonderfully played by Jose Llana, he is imperious and comically petulant, yet he’s also vulnerable and even sympathetic. We understand that he’s concerned for his country’s future, not wanting it to become a European protectorate like some of his neighbors. Though he has hired a British governess to teach his children, he comes to rely on her to help him modernize—basically, to Westernize—his country in order to convince Europe that Siam doesn’t need “protecting.”

As governess Anna Leonowens, Elena Shaddow is a charming mixture of politeness and stubborn determination. Though her Victorian upbringing makes it hard for her to accept the king’s polygamy, she does her best to get along with her royal employer. However, she refuses to bend on one matter: the king’s promise, which he seems to have conveniently forgotten, to provide her and her son, Louis (Rhyees Stump), with a home of their own.

The production opens with a gorgeous scene, courtesy of set designer Michael Yeargan and lighting designer Donald Holder: the sunset arrival of the ship that brings Anna and Louis to Bangkok. After that, the scenery is far more restrained, with the outline of the palace walls in the background and long curtains playing a big role in delineating the change from one location to the next. It’s what goes on in front of the scenery that makes this staging so special.

Besides Anna and the king, key characters include Prime Minister Kralahome (Brian Rivera); the king’s head wife, Lady Thiang (Jane Almedilla); and Prince Chulalongkorn (Charlie Oh), his oldest son. Adding a dark subplot is the young and beautiful Tuptim (Q Lim), a “gift” from Burma who is forced to submit to the king’s advances despite being in love with another man, Lun Tha (Kavin Panmeechao).

Fine voices give some of Rodgers and Hammerstein’s most beloved tunes their due, including Anna’s “Hello, Young Lovers” and “Getting to Know You” and Anna and the king’s “Shall We Dance?” Panmeechao’s thin tones are a slight impediment to Lun Tha’s wistful duets with Tuptim, “We Kiss in a Shadow” and “I Have Dreamed.” On the other hand, Almedilla’s matronly voice only adds depth to the show’s most touching number, Lady Thiang’s “Something Wonderful.”

A large orchestra consisting mostly of local musicians (who, for a change, are actually named in the program) performs under Gerald Steichen’s baton. Christopher Gattelli’s adaptation of Jerome Robbins’s original choreography is especially delightful during Act 2’s prolonged ballet, a Siamese take on Uncle Tom’s Cabin.

“Delightful” is a good adjective for the show in general, along with “illuminating” and “amazing.” And, hopefully, “unmissable.”

Broadway in Columbus and CAPA will present The King and I April 24-29 at the Ohio Theatre, 39 E. State St. Columbus. Show times are 7:30 p.m. through Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, and 1 and 6:30 p.m. Sunday. Running time: 2 hours, 55 minutes (including intermission). Tickets are $34-$109+. 614-469-0939, 1-800-745-3000, columbus.broadway.com, capa.com or ticketmaster.com. For information on future tour stops, visit thekinganditour.com.

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If this doesn’t raise your spirits, the Nazis win

Scene from An American in Paris, presented by Broadway in Columbus (Photos by Matthew Murphy)

By Richard Ades

Love is more important than art, a character proclaims during a key moment from An American in Paris. While that’s undoubtedly true, it’s art that makes the musical so memorable.

Christopher Wheeldon’s direction and choreography combine with Bob Crowley’s set and costumes, Natasha Katz’s lighting and, most of all, George and Ira Gershwin’s ageless jazz tunes to create multiple gifts for the eyes and ears. As for the love story at its center, it mostly amounts to the colorless glue that holds it all together.

Based on the 1951 film about an American (Gene Kelly) who woos a reluctant Frenchwoman (Leslie Caron), the musical took an unconventional path to its 2015 Broadway premiere. It debuted in late 2014 in Paris, where it created a stir despite the language barrier. In addition to its glorious musical numbers, Parisians likely were attracted to its rejiggered plot and setting.

Book writer Craig Lucas moves the tale back to 1945, when the City of Light is struggling to regain its spirit after the dark years of Nazi occupation. Memories of the war affect two central characters in different ways: Jewish American composer Adam Hochberg (Matthew Scott) is so traumatized that he can write only dirges that fit in with his gloomy view of life. In contrast, Frenchman Henri Baurel (Ben Michael) is determined to move beyond his own war experiences by fulfilling his lifelong dream of becoming a song-and-dance man.

Unbeknownst to them, Adam and Henri are united by their mutual love of a ballet dancer named Lise Dassin (Allison Walsh). Nor do they know that Lise has a third admirer in the form of American G.I.-turned-artist Jerry Mulligan (McGee Maddox). Complicating things even further, Jerry attracts the attention of wealthy benefactor Milo Davenport (Kirsten Scott), who clearly expects sexual favors in return for her valuable patronage.

McGee Maddox and Allison Walsh as Jerry and Lise, the characters played by Gene Kelly and Leslie Caron in the original 1951 film version 

Jerry and Lise are the people we’re supposed to care about the most, so it’s disappointing that Maddox and Walsh generate so few romantic sparks. Making up for this in spades, both are lithe dancers and competent singers, as they prove over and over again throughout. (Note: Kyle Robinson fills in as Jerry on Saturday afternoon and Sunday evening, while Deanna Doyle plays Lise during the Sunday matinee.)

More interesting than the two romantic leads are the dramatic arcs undergone by Adam and Henri, particularly during Act 2. In fact, the second act surpasses its predecessor in terms of both drama and spectacle.

Two late-arriving song-and-dance numbers are alone worth the price of admission: “I’ll Build a Stairway to Paradise,” led by Henri and Adam; and “An American in Paris,” a surreally amazing piece featuring Lise, her ballet partner (Kevin A. Cosculluela) and the rest of the company. Both are complemented by set designer Crowley’s most sublime creations and the Gershwins’ most powerful melodies.

Other classic tunes include “I Got Rhythm,” “The Man I Love,” “’S Wonderful” and “They Can’t Take That Away From Me.” All are accompanied in a full-throated style by a massive band conducted by David Andrews Rogers.

After premiering on Broadway in early 2015, An American in Paris won Tonys for its choreography, lighting, orchestration and scenic design. The touring version excels in those same areas, making it an awe-inspiring experience for anyone who ventures to the Ohio Theatre this week.

Broadway in Columbus and CAPA will present An American in Paris through March 11 at the Ohio Theatre, 39 E. State, Columbus. Show times are 7:30 p.m. through Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, and 1 and 6:30 p.m. Sunday. Running time: 2 hours, 45 minutes (including intermission). Tickets are $31-$104. 614-469-0939 (CAPA), 1-800-745-3000 (Ticketmaster), columbus.broadway.com, capa.com or ticketmaster.com.

What do ‘Waitress’ and ‘The Band’s Visit’ have in common?

Desi Oakley, Charity Angel Dawson and Lenne Klingaman (from left) in the Broadway in Columbus presentation of Waitress (photo by Joan Marcus)

By Richard Ades

The transition from the screen to the stage is a tricky one. There have been a few triumphs, but the results are more often disappointing.

The latest film adaptation is The Band’s Visit, a musical that recently moved to Broadway after a successful off-Broadway run. Tony Shalhoub (TV’s Monk) and Katrina Lenk lead a uniformly strong cast, and David Cromer’s sensitive direction captures the cross-cultural discomfort that develops when an Egyptian police band unexpectedly shows up in a remote Israeli village. On top of that, David Yazbek’s music and lyrics are delightful.

Despite the musical’s strengths, I left the Ethel Barrymore Theatre feeling less satisfied than I was after seeing the 2007 Israeli movie on which it’s based. The stage production attempts to create dramatic arcs by playing up several elements of the story, especially the flirtation that Lenk’s restaurant owner directs toward Shalhoub’s uptight band director. It does this at the expense of the little interactions that, in the film, mark the Israelis and the Egyptians as fellow travelers on the sad, lonely journey known as life. The stage show is good, but it lacks its predecessor’s understated charm.

Would I have liked the show more if I hadn’t seen the film? Possibly. So maybe it’s good that I didn’t catch another 2007 movie, Waitress, before seeing its musical adaptation this week at the Ohio Theatre. The late Adrienne Shelly’s flick has been faulted for diluting a story of female empowerment with broad humor, and the stage production likely broadens the humor even more.

The heroine is Jenna (the relatable Desi Oakley), a small-town waitress married to a control freak named Earl (the effectively hateful Nick Bailey). Jenna is desperate to escape from her loveless marriage, but her hopes are dashed when she learns she’s pregnant.

Ironically, her pregnancy leads her to Dr. Pomatter (Bryan Fenkart), a gynecologist who instantly falls for both her and the stellar pies she concocts for the restaurant. Taken off guard by the unfamiliar experience of being appreciated for who she is, Jenna begins an affair with the kind, though married, doctor. Meanwhile, she sets her sights on a pie-making contest whose prize money could bankroll a new life for her and her future child.

As long as the focus stays on Jenna and her miserable situation, Waitress serves as a sobering look at the serious issue of spousal abuse. However, book writer Jessie Nelson and director Diane Paulus seem determined to keep the crowds pleased by devoting much of the show’s time and energy to broad comedy populated by familiar stereotypes.

Jenna’s fellow waitresses are Becky (Charity Angel Dawson) and Dawn (Lenne Klingaman). The former is sassy (i.e., she’s black), and the latter is shy and nerdy (i.e., she wears glasses). In subplots that largely overshadow the main plot, Becky launches into an affair of her own, while Dawn attempts to end her social isolation by running a personal ad. This attracts the attention of Ogie, an oddball exuberantly played by Jeremy Morse with overtones of Paul Lynde and Henry Gibson, the poet from TV’s Laugh-In. Ogie’s comic solo number, Never Ever Getting Rid of Me, becomes the closest thing the musical has to a show stopper.

Roaming even further from Jenna’s homefront predicament, the proceedings nearly turn into a sex farce when all three waitresses and their respective beaus simultaneously engage in onstage canoodling. Diner manager Cal (Ryan G. Dunkin) and elderly owner Joe (Larry Marshall) also contribute to the show’s sexual preoccupation, though the latter does so only by sharing his erotic memories.

The mood finally turns sober again just in time for Jenna’s biggest and saddest solo, She Used to Be Mine, sung with the kind of strong and committed voice Oakley brings to all of her songs. In fact, composer/lyricist Sara Bareilles’s tunes are well served by the entire cast and by conductor/pianist Jenny Cartney and her onstage band. But none of this makes up for the fact that the pop/country melodies are mostly forgettable and the lyrics seldom rise to the level of deep poetry.

Despite its inconsistencies and weaknesses, Waitress remains on Broadway after a year and a half, suggesting that it satisfies patrons’ theatrical taste buds. And it did seem to make many people happy at the Ohio on Tuesday, despite a technical snafu that delayed the show long enough to turn it into a 3½-hour ordeal.

So if the idea of spicing up a serious social issue with broad comedy doesn’t give you acid reflux, you, too, may find Waitress to your liking.

Broadway in Columbus and CAPA will present Waitress through Sunday (Nov. 12) at the Ohio Theatre, 39 E. State St., Columbus. Show times are 7:30 p.m. through Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, 1 and 6:30 p.m. Sunday. Running time: 2 hours, 45 minutes (including intermission). Tickets are $34-$115. 614-469-0939, 1-800-745-3000, columbus.broadway.com, capa.com or ticketmaster.com.

Carole King musical is a tapestry of nostalgic sights and sounds

Julia Knitel as Carole King in the Broadway in Columbus/CAPA presentation of Beautiful: The Carole King Musical (Photos by Joan Marcus)

By Richard Ades

Pop memories mix with Broadway pizzazz in Beautiful: The Carole King Musical.

The titular singer-songwriter won multiple Grammys in 1971 with Tapestry, an album that voiced the joys, fears and regrets of an entire generation. Beautiful, a jukebox musical written by Douglas McGrath, explains how King became the person who created the iconic work.

The journey begins when King (winningly played by Julia Knitel) is a precocious 16-year-old who’s determined to forge a career writing pop songs. Despite multiple rejections, she persuades her mom (Alaina Mills) to let her try one more time by taking her latest tune to a recording studio on Times Square.

There she meets two men who will play crucial roles in her career: record producer Don Kirshner (James Clow), who is won over by her pop lament It Might as Well Rain Until September; and Gerry Goffin (Liam Tobin), a lyricist who quickly becomes her partner in music and in life.

In most jukebox musicals, the plot exists only to tie together a slew of popular songs. In Beautiful, the plot exists to explain how those songs came to be. Because King’s tunes have so much emotional resonance for those who grew up with them, the story has built-in appeal. We want to know what turned this nerdy, self-effacing teen into the older but wiser, sadder but stronger talent who poured her aching heart out in Tapestry.

In the touring show, that appeal helps to make up for a central relationship that seems iffy from the start because Tobin’s Goffin comes across as someone who is as self-absorbed as he is brilliant. King may think he’s worth the effort, but viewers are apt to be less convinced.

Gathered around the piano (from left): Curt Bouril as Don Kirshner, Liam Tobin as Gerry Goffin, Julia Knitel as Carole King, Ben Fankhauser as Barry Mann and Erika Olson as Cynthia Weil

Oddly, it’s easier to root for another songwriting couple who become friendly competitors to King and Goffin. Lyricist Cynthia Weil (Erika Olson) is sassy and sarcastic, while composer Barry Mann (Ben Fankhauser) is a lovable hypochondriac. The two create both laughs and romantic sparks whenever they’re onstage.

Under Marc Bruni’s direction, the show flows smoothly and efficiently from one scene or song to the next. Derek McLane’s scenery, Peter Kaczorowski’s lighting and Alejo Vietti’s costumes combine to create stage pictures that are both glitzy and elegant. The production numbers are particularly gorgeous and benefit from Josh Prince’s choreography, which often parodies moves favored by early groups such as the Shirelles and the Drifters (both of which make guest “appearances”).

My personal favorite among the production numbers: the Drifters’ rendition of On Broadway, one of the Weil-Mann hits. But there are many other musical moments, both big and intimate, that will tempt viewers to sing along. (But don’t, please—you’ll get your chance during the curtain call.)

My only musical complaint is that Knitel sometimes strays from the well-known King melodies, as if trying to make them her own. Since she’s playing King, she really ought to stick to the original notes. Overall, though, she vocalizes beautifully, often capturing the singer’s timbre without doing an outright impersonation. The rest of the cast sings equally well and is expertly backed up by conductor Susan Draus and her band.

Beautiful may not hit as many emotional moments as it could, but it lives up to its name both visually and aurally while delivering a nutritious serving of nostalgia.

Broadway in Columbus and CAPA will present Beautiful: The Carole King Musical through Sunday (June 11) at the Ohio Theatre, 39 E. State St., Columbus. Show times are 7:30 p.m. through Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, and 1 and 6:30 p.m. Sunday. Running time: 2 hours, 30 minutes (including intermission). Tickets are $39-$246. 614-469-0939, 1-800-745-3000, broadway.columbus.com, capa.com or ticketmaster.com.

Musical mermaid yearns for love in Disney do-over

Diana Huey as Ariel in the touring production of The Little Mermaid, presented by Broadway in Columbus and CAPA (Photo by Mark & Tracy Photography)
Diana Huey as Ariel in the touring production of The Little Mermaid, presented by Broadway in Columbus and CAPA (Photos by Mark & Tracy Photography)

By Richard Ades

In mythic lore, mermaids were seductive creatures whose haunting voices lured sailors to their deaths. In modern times, The Little Mermaid lured Disney to one of its rare stumbles: a 2008 Broadway musical that failed to reclaim the magic of the company’s 1989 animated flick. The production garnered so-so reviews and sank a year and a half later.

Now, in a salvage operation consisting of a complete overhaul, Disney has relaunched the tale in a touring show that corrects most of the original production’s faults. It’s still no Beauty and the Beast or The Lion King, but it’s a likable show that should keep parents and their young princes and princesses entertained.

Directed by Glenn Casale, the show uses cables and Kenneth Foy’s modest but attractive scenery to re-create the title character’s underwater world. The cables allow Ariel (Diana Huey) and others to “swim” through the domain ruled by her father, King Triton (Steve Blanchard). In scenes set at the surface or edge of the ocean, they allow her feathered friend Scuttle (Jamie Torcellini) to “fly.”

Though much has changed in the way the tale is told, the basic plot remains the same: Ariel is a teenage mermaid who has long been fascinated by humans despite her father’s claim that they’re barbarians who murdered her mother. Her fascination blossoms into a full-blown crush when she spies the seagoing Prince Eric (Matthew Kacergis) and subsequently saves his life when he falls overboard in a sudden storm.

Determined to meet the handsome Eric (who was unconscious when she pulled him from the sea), she makes a Faustian bargain with her evil aunt, Ursula (Jennifer Allen): Ariel will become human, but she will forfeit her soul unless she can persuade the prince to kiss her within three days. In addition, she will immediately lose her voice. That’s unfortunate for her, because Eric has fallen in love with the singing voice he heard before the storm and is determined to find and marry its owner.

Jennifer Allen as the villainous Ursula
Jennifer Allen as the villainous Ursula

Though The Little Mermaid lacks the emotional depth of the best Disney musicals, it partially makes up for it by throwing in a boatload of humor. Scuttle’s misuse of the English language is a bit forced, but Allen’s tentacled and self-amused Ursula is good for chuckles. Funnier still is a scene in which a French chef (Dane Stokinger) prepares a meal by smashing deceased sea creatures with various kitchen utensils.

As Ariel, Huey is most successful at portraying the humorous side of puppy (guppy?) love, especially after the mermaid transforms into a human. In the sea, she’s often overshadowed by the more colorful characters around her, but on land, she’s amusingly awkward as Ariel struggles to deal with an unfamiliar body and emotions. (It’s probably unnecessary to point out that the former mermaid’s struggles symbolically parallel what the average girl goes through during her teen years.)

Despite the emphasis on comedy, The Little Mermaid’s biggest strengths are the tunes penned by composer Alan Menken and lyricists Howard Ashman and Glenn Slater. Sebastian (Melvin Abston), a crab who becomes Ariel’s protector, makes the most of two popular holdovers from the movie: Under the Sea and Kiss the Girl. Huey’s lovely voice soars on Ariel solos such as Part of Your World, while Kacergis displays the production’s strongest pipes on Eric’s numbers Her Voice and One Step Closer.

One element of the plot could use further honing: The inevitable happy ending comes about thanks to a sudden development that left both me and my date scratching our heads. Otherwise, The Little Mermaid—both the title character and the revised telling of her story—offers an inspiring lesson on the value of perseverance.

Broadway in Columbus and CAPA will present Disney’s The Little Mermaid through Sunday (Feb. 5) at the Ohio Theatre, 39 E. State St., Columbus. Show times are 7:30 p.m. through Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, and 1 and 6:30 p.m. Sunday. Running time: 2 hours, 30 minutes (including intermission). Tickets are $29-$94. 614-469-0939, 1-800-745-3000, broadway.columbus.com, capa.com or ticketmaster.com.

Shoemaker sets out to save cross-dressers’ soles

The touring cast of Kinky Boots, presented by Broadway in Columbus and CAPA (photo by Matthew Murphy)
The touring cast of Kinky Boots, presented by Broadway in Columbus and CAPA (photo by Matthew Murphy)

By Richard Ades

I have to admit I went into Kinky Boots with a small chip on my shoulder.

In 2013, Matilda the Musical was expected to win a slew of Tony Awards, including for best musical. Instead, despite having opened to mixed reviews, Kinky Boots danced away with the top prize.

Full disclosure: I love Matilda the Musical. Seeing it was my favorite Broadway experience since Memphis. After Kinky Boots beat out the magical lass for the top prize and others, including Cyndi Lauper’s win for best score, I decided it had better be damn good.

Anyway, that was my mindset going into the Ohio Theatre on Tuesday night, which helps to explain why it took me a while to warm up to the show. Eventually, though, I came around.

Adapted by Harvey Fierstein from a 2005 movie, Kinky Boots is the story of Charlie (Steven Booth), a young Englishman who’s preparing to move to London with his fiancée, Nicola (Charissa Hogeland). In the process, he’s leaving behind the family business, a Northampton shoe factory run by his father (Tom Souhrada).

No sooner does Charlie get to London, however, than he learns his father has died. As if that weren’t enough bad news, he then realizes the company is going broke because it can’t compete in a market flooded with cheap, foreign-made shoes.

Enter Lola (Kyle Taylor Parker), a drag performer whose chief problem seems to be her inability to find high-heeled boots strong enough to support her male frame. Thanks to a suggestion from factory worker Lauren (Lindsay Nicole Chambers), Charlie realizes the only way to save the business—along with the jobs of the people he grew up with—is to find a niche need and fill it. His solution: Start making sturdy, yet stylish, footwear for the discriminating cross-dresser.

I said I eventually came around on Kinky Boots, but that doesn’t mean I love everything about it. You don’t have to be an expert on Morse code to recognize that Fierstein is telegraphing plot points well in advance, including the fate of Charlie’s relationship with the sour-tempered Nicola. And things get even more transparent in the second act, when Fierstein manufactures conflicts by having Charlie act in totally unconvincing ways.

The show’s salvation is Lauper’s genre-hopping score, which earns its Tony. A couple of the songs strike me as derivative, but they’re generally enjoyable and catchy.

Of course, any production rises or falls on the strength of its cast, and this touring show’s cast acts, sings and dances delightfully under the guidance of director/choreographer Jerry Mitchell. At the top of the bill, Booth is relatable as Charlie, while Parker is nothing short of amazing as the sassy, yet soulful, Lola.

Some early critics complained that the show loses steam in the second act, but I actually like it better because it gives Lola a chance to grow into something beyond a flashy stereotype. Yes, Lola’s production numbers with her lascivious “Angels” are fun, but Parker’s best moment comes when Lola slows down for the Act 2 lament Hold Me in Your Heart. It’s a true show stopper.

Visually, the show is equally impressive, thanks to Gregg Barnes’s costumes, Kenneth Posner’s lighting and David Rockwell’s glorious scenery.

The one place the touring show could stand improvement is in the area of the sound. On opening night, whole lines of dialogue and lyrics were indecipherable. The English accents were partially to blame, but poor mixing seemed to be the main culprit. Hopefully, that problem will be fixed as the week goes on.

Did Kinky Books deserve to steal the top Tony away from Matilda? Not in my book. But it does give musical-loving theatergoers a colorful, toe-tapping good time.

Broadway in Columbus and CAPA will present Kinky Boots Oct. 6-11 at the Ohio Theatre, 39 E. State St., Columbus. Show times are 7:30 p.m. through Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, 1 and 6:30 p.m. Sunday. Running time: 2 hours, 30 minutes (including intermission). Tickets are $33-$118. 614-469-0939, 1-800-745-3000 or ticketmaster.com.

[title of review]

Annie Huckaba, Bradley Johnson, Elisabeth Zimmerman and Jonathan Collura (clockwise from front) star in CATCO’s production of [title of show]
Annie Huckaba, Bradley Johnson, Elisabeth Zimmerman and Jonathan Collura (clockwise from front) star in CATCO’s production of [title of show]
By Richard Ades

I arrive at the Riffe Center’s Studio Three and prepare to watch CATCO’s cabaret-style production of [title of show]. The intimate room is a pleasant place to watch theater, but I have my doubts about whether I should be watching this particular piece of theater.

My trepidation stems from what I’ve heard about Jeff Bowen and Hunter Bell’s offbeat musical, which first appeared in 2004, had an off-Broadway run in 2006 and finally turned up on Broadway for about three months in 2008. What I’ve heard is that the show is loaded with inside jokes and references that only gay, theater-obsessed New Yorkers can fully appreciate.

As the show begins, my fears seem justified. Some jokes fly right by me, while others just don’t seem that funny. Several audience members seem equally mystified—indeed, I can see one woman across the room who doesn’t crack a smile for the entire two hours and 10 minutes.

However, a small group of viewers makes up for this by laughing at nearly everything the cast does. Looking around, I realize that most of the laughs are coming from four men sitting in a tight circle. To be sure, many viewers chuckle or at least smile at various jokes, but this quartet supplies the bulk of the audience response.

So what is this show that appeals—intentionally, as it turns out—to such a select audience? It’s basically a musical about putting on a musical. Composer/lyricist Bowen and book writer Bell wanted to enter a show in an upcoming theater festival, and since they didn’t have any ideas, they decided to make the show its own subject.

A bit self-indulgent, don’t you think? Like the theatrical equivalent of a taking a selfie? Yes, and some of the early humor acknowledges that fact by focusing on the creators’ superficiality. In particular, the show’s version of Hunter is loath to begin a new project because he’s too involved in watching TV’s The Bachelor and Project Runway.

If the musical has any depth and universal meaning, it involves the participants’ desire to do something that would finally allow them to make theater the center of their existences. The self-doubt that prevents all of us from taking necessary chances in life is lampooned in one of the better songs, Die, Vampire, Die.

Back to Studio Three: As I watch the musical unfold under Joe Bishara’s direction, I admire both the cast’s singing and the keyboard work of accompanist Quinton Jones. But I also think the actors are portraying their characters with mixed success. That’s especially true of two female friends who join Jeff and Hunter’s project.

Elisabeth Zimmerman—who played one of my favorite characters in CATCO’s wonderful 2013 production of The 25th Annual Putnam County Spelling Bee—is entertaining as Heidi, to the extent that the thinly written role allows her to be. However, Annie Huckaba never quite gels as Susan, instead coming off as a caricature of playful quirkiness.

As for the men, Bradley Johnson is tastefully flamboyant as Hunter, while Jonathan Collura balances him out nicely as the more down-to-earth Jeff. It’s only in the later stages of the play that I begin to think Collura’s Jeff should have shown more passion for their shared project from the beginning. Maybe then the argument that arises late in Act 2 would be more convincing.

Truthfully, though, it’s unfair to blame the actors for anything that happens in Act 2.

The act didn’t even exist when the musical first opened, having been written to explain how the show and its creators changed as it moved to off-Broadway and finally to Broadway itself. Watching the second act in Studio Three, I quickly decide that adding it was a mistake.

And I’m not alone, judging from the audience’s reaction. Even the four biggest laughers are noticeably quiet as Jeff, Hunter, Susan and Heidi argue endlessly about whether they’ll ever get the show to Broadway and whether all of them will still be on board if and when it gets there.

Finally, Hunter suggests it’s time to bring the elongated show to an end, noting, “We can’t keep adding everything that happens to us.” It’s a brilliant insight, though it’s hard not to wish it had occurred to him about half an hour earlier.

Then again, I’m hardly in a position to throw that particular stone. It’s now been days since I saw the show, and I can’t find a way to finish this review, which already has dragged on for way too long.

Should I mention that, while watching the show, I kept thinking Zimmerman was playing Susan because she reminded me so much of the short-lived Seinfeld character of the same name? No, chances are no one else will make the connection, and really, who cares?

I guess I should just finish by addressing the all-important question: Will you enjoy the show? Maybe, maybe not. The creators themselves admit it won’t appeal to everyone, declaring in the finale that they’d rather be “nine people’s favorite thing than 100 people’s ninth-favorite thing.”

It should be obvious by now that [title of show] isn’t my favorite thing, my ninth-favorite thing or even my 90th-favorite thing. But who knows? Maybe it will be your favorite thing—at least until the second act.

CATCO is presenting an open-ended run of [title of show] in Studio Three of the Riffe Center, 77 S. High St. Show times are 8 p.m. Thursday-Sunday and 2 p.m. Sunday. Running time: 2 hours, 10 minutes (including intermission). Tickets are $35, $180 for a reserved table of four; a limited number of $15 student tickets will be available two hours before curtain. 614-469-0939 or catco.org.