#marquistheatre

(Santino Fontana (Michael/Dorothy); Photo credit: Matthew Murphy)

Vocally, Mr. Fontana’s opening solo “Whaddya Do” kicks off his supreme bari-tenor in strong fashion, assuring the audience his sturdy leading man chops are here to stay. However, more than just an engaging singer, Mr. Fontana’s comedic timing and ability to play many of director Scott Ellis’ bits to their full extent, are done so without mugging or losing steam. Mr. Fontana’s back-and-forth from struggling actor who creates a backstory for a tomato, Michael Dorsey, to the sturdy, excellent-listener, leading actress, Dorothy Michaels, doesn’t drone on nor take audiences out of reality. When the costume changes happen, whether on, off, or below stage, they are quick and dazzling each time. It wouldn’t be a complete performance for Mr. Fontana without his Act One triumph, “Unstoppable,” and Act Two lament, “Talk to Me Dorothy,” to put a bow on this wonderful acting-singing-moving turn.

(Seated: Santino Fontana (Michael/Dorothy), Standing: Lilli Cooper (Julie); Photo credit: Matthew Murphy)

Supported by a stellar supporting cast and ensemble, Lilli Cooper is a terrific Julie, an actress playing Juliet opposite Dorothy Michael’s Nurse, as part of the revived Romeo and Juliet, helmed for Broadway by zany, sexist, egotistical director, Ron Carlisle. Ms. Cooper is flawless in her vocal prowess, especially in the Act Two, “Gone, Gone, Gone,” a song which should be bopping on Top 40 radio (that’s meant as a compliment), and showcases a vocal range and riffed decoration that is one of Mr. Yazbek’s more memorable tunes. Another win for Mr. Yazbek’s lyrics in her songs are allowing her “I Had” songs time to flesh out and let the audience in on Julie’s past and how she’s feeling in the present. Ms. Cooper’s romantic connection opposite Mr. Fontana’s differing characters is one that is soothing and wholesome to follow, a logical relationship of trust and vulnerability that has its major road block approach at a most inopportune time, hence the comedy. Andy Grotelueschen, playing Michael’s bartender/waiter/hopeful playwright roommate, Jeff, is outstanding in his performance, re-writing what it means to deliver a punchline and/or set up a joke to its peak comedic worth. His true musical time to shine is not wasted in “Jeff Sums it Up.”

(Sarah Stiles (Sandy) and Andy Grotelueschen (Jeff); Photo credit: Matthew Murphy)

Sarah Stiles is a scene-stealing gift to the musical stage as Sandy, the neurotic, depressed, and a slew of other reasons to see a therapist, ex-girlfriend of Michael. Sandy is a hardworking actress who isn’t working, and her neuroses are on full display in her big-voiced patter “What’s Gonna Happen” and its several reprises. Ms. Stiles has a gift for the pregnant pause, knowing how long a bit should last, and never reaches or begs the audience to laugh. John Behlmann delivers a featured standout performance as Max Van Horn, the clueless, dunce, but oh-so-hot leading actor in the Romeo and Juliet, aptly named Juliet’s Curse, show within the show. Mr. Behlmann’s commitment and ability to sustain the dumbness of Max is a feat of astonishing proportion, never coming across as annoying or a burden to the progress of his scenes. Mr. Behlmann’s beautiful voice is on great display in “This Thing,” a hilarious, big-voiced ditty where Max pronounces his love for an unsuspecting cast member. Reg Rogers delivers a wonderfully devilish turn as aforementioned putz director, Ron. His physicality and dripping delivery of the most sarcastic and pompous of lines are excellent throughout the musical. In total, Mr. Horn’s book and Mr. Yazbek’s score are champions at giving every role just enough scene and song to have the support and investment needed in what stakes they have in the show.

(L to R: Julie Halston (Rita), James Moye (Ensemble), Santino Fontana (Michael/Dorothy), Lilli Cooper (Julie), John Behlmann (Max); Photo credit: Matthew Murphy)