By Philip Dorian
Based on four of its songs alone, Cole Porter’s “Can-Can” has been long overdue for revival.
Well, its time has come, and the satisfying production at Paper Mill Playhouse, rumored to be pre-Broadway, proves that the musical riches in Porter’s 1953 musical are not limited to its core four: “I Love Paris,” “C’est Magnifique,” “Allez-Vous En” and the torchy “It’s All Right with Me.”
“I Am in Love,” “Come Along with Me” and even a throwaway like “Never Give Anything Away” join the ranks of the hummable, thanks to music director Steve Orich’s new arrangements and the vocal excellence of luminous leading lady Kate Baldwin and her full-voiced leading man Jason Danieley.
And, as the title indicates, there’s that high-kicking, derriere-centric dance. A line of pulchritudinous chorines, inspired by Patti Colombo’s vibrant choreography, turn the Bal de Paradis nightspot into the raciest entertainment destination in 1893 Paris, France – and certainly in 2014 Millburn, New Jersey.
When the highly moral judge Aristide Forestier (Mr. Danieley) investigates the scandalous Paradis, it’s only a matter of time (halfway through Act 1) before he and boite owner, La Mome Pistache (Ms. Baldwin), are mutually smitten. But before the can-can dancers can bare their assets, morality rears up and Pastiche and company are off to the lockup. Can love and the can-can’s bawdy flounces eventually co-exist? Well, there’d hardly be a show if not.
–Courtesy Matthew Murphy
Sprightly as the songs and dance may be, the book portion, even as revised from Abe Burrows’ original by Joel Fields and director David Lee, is still creaky. A sub-plot, involving a second-rate sculptor, his dancer girlfriend and a pompous, on-the-make art critic, is mildly amusing, but its climactic sword-duel wears out its welcome after a few of its too-many minutes.
The original “Can-Can” catapulted Gwen Verdon to stardom after her sexy “Garden of Eden” ballet stopped the show, for which, legend has it, she was fired at the behest of Lilo, the French chanteuse playing Pistache. There’s no chance of that happening at Paper Mill because as winning as Megan Sikora is in the same role, the ballet is cut.
Also among the missing is a pervasive flavor of France. While it is a genuine pleasure to hear “I Love Paris,” “C’est Magnifique” and “I Am in Love” sung gorgeously by Ms. Baldwin and Mr. Danieley, they are about as French as the crepes at Denny’s. It falls to the can-can to provide the Continental flair.
I cannot swear to Gallic authenticity, but many an ooh-la-la was heard during the extended cheering for the sensational signature number. To Cole Porter, to Baldwin and Danieley and especially to those can-can girls, a toast: Bottoms up!
“Can-Can, through Oct. 26 at Paper Mill Playhouse, Millburn. Shows: 7:30 p.m. Wednesday and Thursday; 8 p.m. Friday; 1:30 and 8 p.m. Saturday; and 1:30 and 7:30 p.m. Sunday. For information and tickets ($28-$99), call 973-376-4343 or visit papermill.org.
