Is ‘Schmigadoon’ the cure for those that hate musicals?

By ALAN SMASON, WYES-TV Theatre Critic (“Steppin’ Out“)

The first clue I had that this production was going to be something special was when I got to my row and discovered to my shock and delight that seated next to me was Broadway legend Kristin Chenoweth, one of the original stars of the Apple TV series “Schmigadoon” on which the same-titled Broadway musical is based.

I was wondering whether it was necessary to have seen the two-season streaming series in order to appreciate the nuances of the show because I am admittedly a bit of a musical snob when it comes to viewing musical theatre on television. I believe there is no substitute for being “in the room where it happens,” a moment in time that is shared by the audience and the cast and is entirely unique.

But it soon became obvious that Schmigadoon could and would stand on its own merits and, while based on many of the plot lines in the series, it is a stand-alone product able to construct its own story and not be affected by what direction the TV series had taken.

Tall and angular Cinco Paul is the genius behind this love letter to musicals and in particular to musical composers, lyricists and book writers. Paul pays particular homage to those that complain they can never understand or appreciate the concept of an actor or actors launching into song in order to delve more deeply into a particular plot twist. The concept of defaulting into a dance break – also viewed as absurd and not at all reflective of reality – is another topic of constant complaint by those that just can’t fathom the art form.

But Paul acknowledges the naysayers with his two leads, Alex Brightman and Sara Chase, who portray two contemporary doctors, Josh Skinner and Melissa Gimble, whose  relationship that has grown a bit tiresome and predictable. The two inadvertently stumble upon the strange and unpredictable town of Schmigadoon whose  residents are both colorful and creepy.

They find they cannot escape from this strange place where breaking into song, dance or a bit of both is considered natural and expected. The title is, of course, based on the mythical town Brigadoon made famous in the Lerner and Lowe musical of the same title. But, where Brigadoon is a Scottish town that wakes one day every century, Schmigadoon is a midwestern American town of the turn of the 20th century, not unlike the Iowa town from Meredith Wilson’s The Music Man. They are welcomed warmly by the townspeople with the title song in a number that sounds as if it’s been fashioned by Richard Rodgers and Oscar Hammerstein II’s Oklahoma  but set in the River City of Professor Harold Hill and company.

Warned by a singing leprechaun (yes, that would be Ireland) that they will not be able to successfully exit until they find “true love,” the couple try to exit first while with each other before seeking out true love from within the township.

As Dr. Skinner, Brightman is the pragmatist of the duo. He is willing to do anything to escape from Schmigadoon except to break into song and dance. As Dr. Gimble, Chase is more malleable and is quickly in “Corn Puddin'” to become a member of the singing and dancing cast. As she tries out some lyrics to the song, she uses the word “extry” in lieu of “extra” to the annoyance of her beau.

Chase is terrific cast opposite Brightman but shines even brighter when paired with Max Clayton as the agile and muscular carnival barker Danny Bailey (based on the Billy Bigelow character from Carousel)  and Ivan Hernandez as the stodgy elder doctor “Doc,” a tribute to Emile De Becque from South Pacific.

Clayton’s two big numbers that show off his dancing prowess are “You Can’t Tame Me” and “You Done Tamed Me,” based in part on “If I Loved You.” A shout out also to the remarkable Christopher Gatelli, who directed and choreographed this entire work.

Nominated for 12 Tony Awards, Schmigadoon also stars a full cast of proven stars who add to this mixture of familiar song and dances based partially and thematically on other successful musicals. Ana Gasteyer (Once Upon a Mattress) plays Mildred Layton, the minister’s wife who acts as a one-woman morality campaign all by herself.

Brad Oscar (Something Rotten) portrays the aptly-named Mayor Menlove. Married to his wife Florence, played by Ann Harada (Avenue Q), the mayor realizes he is attracted to men, not women, and he and the Reverend Layton – Maulik Pancholy (Fully Committed) – grow tentatively closer.

Isabelle McCalla (Water for Elephants) also plays well as Dr. Skinner’s love interest Emma Tate after he and Melissa break up and begin surveying the other townspeople as potential new mates.  As was evidenced in her work in The Prom, McCalla shines on the stage even when being upstaged by a young and loud Carson played by Ayaan Diop. The connection Paul makes to Marian Paroo and her brother Winthrop is made abundantly clear.

Ana Gasteyer (Once Upon a Mattress), who plays Mildred Layton, the minister’s wife, practically steals the show with “Tribulation,” a patter song based on “Trouble” from The Music Man.  Mildred Layton acts as a one-woman morality campaign all by herself and forges a campaign to replace the mayor.

When Brightman’s Dr. Skinner eventually gets the message of Schmigadoon, the audience is firmly in his camp. Brightman’s tentative acceptance of the town as he reaches out to Dr. Gimble through (what else?) song is almost overdue.

Steven Malone serves as the music director whith Miahael Aarons, Anja Wood and M-Squared Music listed as music coordinators. Costumes by Linda Cho are off the chain and helped along by Donald Holder’s great lighting design and Walter Trarbach’s rich sound design.

In the end, those that love musicals have another one to love and, perhaps, those that don’t may have a back door entrance to appreciate a work that gives attention to their reluctance to accept the art form as practical or realistic.

Nominated for 12 Tony Awards including Best Musical, Schmigadoon continues its Broadway run at the Nederlander Theatre, 208 W. 41st Street in New York City.  For tickets, click here.