‘It’s a Bird…It’s a Plane…It’s Superman’ @ Encores!


There’s a moment in the finale of It’s a Bird… It’s a Plane… It’s Superman in which the company sings (and I quote) “A-wah-o-wah-o-wah-o-wah-o.” This nonsensical lyric, set in one single measure, encapsulates the joyous silliness of the 1966 musical about the Man of Steel, a light-hearted caper in which two-dimensionality is not only allowed, but encouraged. The musical of Superman gently sends up the square Clark Kent/Superman character and ideal, but it is never overtly self-aware or mocking. It’s also a delicious slice of mid-60s nostaglia, with a period sound that bridges the gap between Broadway brass and the pop flavor of the day. Superman is light, effervescent, and tuneful, and John Rando’s production is the best Encores! has presented since the charming No, No, Nanette in 2008.

The original production closed after 129 performances, in spite of some good notices. Many point to the campy TV series Batman as a major factor in the show’s quick demise. While Superman isn’t groundbreaking, it’s certainly a pleasant divertissement. Certain familiar characters from the Superman universe, including Jimmy Olsen and Lex Luthor, were not involved in the musical. The librettists Robert Benton and David Newman (who later wrote the screenplay for the Christopher Reeve classic), created several new characters for the stage production, while creating a formulaic plot that plays out like an issue of a comic book. There’s not much conflict,but it’s a helluva lot of fun.

Ed Watts was the perfect embodiment of both Clark Kent and Superman; the physique, the look, the tone were all spot-on. And the man can sing like it’s nobody’s business. Jenny Powers brought lovely vocals and some spirit to Lois Lane, a role that can easily get lost among the more colorful characters. The two requisite bad guys, snake oil columnist Mencken (a game Will Swenson) and Dr. Sedgwick (David Pittu, in an inspired comic villain turn) and their vaudeville duet brought down the house. Alli Mauzey was the quirky Sydney, Mencken’s sexy secretary, scoring big with her two numbers (including the show’s breakout song “You’ve Got Possibilities”).

This is one of the most fully realized stagings I’ve ever seen at Encores!, with a comic strip flavored set and vibrant period costumes. Encores! artistic director Jack Viertel did the book adaptation this time around, trimming the libretto to allow a brisk path from song to song while maintaining the gentle satiric element. Director John Rando gives the material the perfect touch; with a quick pace, and some inventive staging (the second act reprise of “It’s Superman” staged as a comic strip was an inspired homage to the original production). Joshua Bergasse’s infectious choreography felt like something straight out of Hullabaloo, with many delightful references to famed 60s moves. At a time when it seems the Broadway is rife with “everything but the kitchen sink” choreography, Superman proved a much-needed antidote. I regret that I was unfamiliar with Mr. Bergasse’s work until now (I have never seen “So You Think You Can Dance” and I gave up on Smash after the pilot), but I do hope that I get to see more of his vital work on any NY stage soon.

Of course the star of the Encores! evening is the score. Charles Strouse’s infectious music is insanely catchy, and Lee Adams’ lyrics are wonderfully clever. Eddie Sauter’s orchestrations are spectacular, with a touch of ’60s Broadway, a touch of jazz and an edge that makes the entire score of Superman extra special. Sauter’s Entr’acte is among the finest ever created for a musical. The charts were played with verve by the Encores! orchestra, conducted by the ebullient Rob Berman.

Now, I’m not saying that Superman should transfer to Broadway, since that would be a great financial risk. However, I could  have easily seen this production five more times. I’d settle for a cast album. Just sayin’…

“Gentlemen Prefer Blondes”


For its third and final entry of the year, Encores! lightened things up considerably with a delightful production of Gentlemen Prefer Blondes, the 1949 classic that made Carol Channing a star (and whose 1953 film adaptation featured some gal named Marilyn). The musical, with a highly entertaining score by Jule Styne and Leo Robin, is a 40s spoof of the 20s and is rather a flimsy affair. Everything will work out for our heroine Lorelei Lee and her pal Dorothy Shaw as they look for love. It just takes a meandering book (by Joseph Fields and Anita Loos) and a lot of specialty filler to get there. Said specialties are a delight, and it was wonderful to see a Golden Age musical staged with separate singing and dancing ensembles. This Encores production, nimbly directed by John Rando (with David Ives again doing the concert adaptation), was bright and breezy fun, but it also showed that the show as a whole doesn’t quite hold up so well.

Megan Hilty is a musical comedy dream. Her funny and sexy performance as Lorelei was captivating; whenever she was on stage you just had to look at her. Blessed with immense beauty and voice for days, Ms. Hilty took Lorelei’s two big solos (and their encores) and turned them into the evening’s high points (I still can see and hear her blissful delivery of the repeated line “The one who done me wrong” from “A Little Girl from Little Rock”). After the second encore of “Diamonds Are a Girl’s Best Friend,” the audience went into sheer euphoria, with thunderous applause and cheering that only increased with intensity and volume on Ms. Hilty’s entrance in the next scene. Whenever Lorelei isn’t center stage, the show isn’t as infectious, but fortunately the stellar supporting cast more than made up for that.

Rachel York brought considerable joy and sass as Dorothy, leading various production numbers including “It’s High Time,” the racy “I Love What I’m Doing” and the Charleston fueled eleven o’clock number “Keeping Cool with Coolidge.” Aaron Lazar was virtually unrecognizable as her nerdy Philadelphia stuff-shirt love interest (who gets the show’s few romantic ballads). Stephen Buntrock appeared as a fitness-crazed entrepeneur whose number is an unlikely tribute to fiber. A triumvirate from the recent revival of Blithe Spirit, Simon Jones, Deborah Rush and Sandra Shipley (Rush’s understudy), were on hand as the older generation bringing some expected laughs.

Randy Skinner, who provided the spirited choreography for the Encores! No, No, Nanette four years ago, once again showed he is one of the best with clever, creative and crowd-pleasing work that showed form and integrity. Unlike recent Golden Age revivals on Broadway, Skinner’s work never reeks of the “everything-but-the-kitchen-sink” desperation that make up what is purported to be a showstopper. The dance highlight was a tap speciality to “Mamie is Mimi,” at the top of the second, originally conceived for Atkins and Coles (Atkins would go on to win the 1989 Tony for Best Choreography for Black & Blue, Coles won Best Featured Actor in a Musical for My One and Only in 1983). Phillip Attmore and Jared Grimes brought down the house, along with Megan Sikora, in a tremendously dazzling display.

Don Walker’s orchestrations were fantastic, as were Trude Rittmann’s dance arrangements (lots of music that has never been recorded before). However, the evening really belonged to Hugh Martin. Mr. Martin, who basically created vocal arranging on Broadway, including the famous “Sing for Your Supper” trio in The Boys from Syracuse, created elaborate tight-knit vocal harmonies which were given impeccable musicianship by the singing ensemble.

With a book this flimsy, a Broadway transfer is not a particularly good idea and Encores! was the perfect venue. However, there is good news: a cast recording will be made. On the heels of PS Classics recording Merrily We Roll Along, and the Ghostlight’s live recording of Pipe Dream, this will mark the first time an entire Encores! season has been recorded since 1999.