Photo Source: Joan Marcus
Anita Loos’ 1925 short novel was such a success that it generated a hit Broadway play the following year that she co-wrote. Loos also collaborated on the book for the musical version, with Joseph Fields, while Jule Styne contributed the tuneful music and Leo Robin provided the witty and inventive lyrics. Short on plot and long on specialty turns and production numbers, “Blondes” tells the story of Lorelei’s search for a sugar daddy and her famous love of expensive appurtenances. Left high and dry on the dock by her father-dominated boyfriend, Gus Esmond Jr., heir to a button fortune, Lorelei sails to “Europe, France” while pursuing other options and being “chaperoned” by her best friend, dizzy flapper Dorothy Shaw. When Gus follows, comic complications ensue.
Rando’s smartly paced production revels in the musical comedy arbitrariness of the material. Front and center are Don Walker’s colorful orchestrations, played with glistening relish by the Encores! orchestra under Rob Berman’s ebullient baton, and Hugh Martin’s indelible tight-harmony vocal arrangements, snazzily delivered by the singing ensemble. Choreographer Randy Skinner’s extensive work includes two showstoppers: a sexy romp for Dorothy and the bathing suit–clad U.S. Olympic team in “I Love What I’m Doing,” spiffily danced by Luke Hawkins, Eric Bourne, Nick McGough, and Kyle Brown, and a dynamite nightclub number, “Mamie Is Mimi,” that evokes the team that originated it, Cholly Atkins and Charles “Honi” Coles. In the latter, the phenomenal Phillip Attmore and Jared Grimes are joined by the equally impressive Megan Sikora. They are to die for.
The supporting performances pop nicely. Clarke Thorell is an appropriately put-upon Gus and fine in his plaintive song of adieu, “Bye, Bye Baby.” Aaron Lazar is all blue-blood buttoned-down sheepishness as Henry Spofford, who takes a shine to Dorothy, and he sings dreamily. Stephen R. Buntrock is a hoot as a physical-fitness nut in “I’m A’Tingle, I’m A’Glow.” Simon Jones contributes a saucy “It’s Delightful Down in Chile,” leering enthusiastically as an aging British codger dominated by his rich wife. Stephen Boyer jumps out in several comic turns, impressing most as he joins Brennan Brown for some Inspector Clouseau shtick as a father-son team of French lawyers. As Spofford’s tippling mother and the codger’s ball and chain, Deborah Rush and Sandra Shipley are slyly authoritative.
Rachel York, as Dorothy, is stuck playing straight man to Lorelei, but she does it cheerfully, with proper period style, handling the musical numbers with pizzazz and charm despite sounding slightly under the weather. Hilty searches for her own successful stylization as Lorelei, but it never materializes, and as the show progresses she moves further and further into Monroe land. Unfortunately, this is the show, not the movie, so reams of carefully tailored comic material go unmined, as anyone who saw Channing will recognize. (No, I wasn’t around in 1949, but I did catch Channing in 1973 in the pre-Broadway tour of “Lorelei,” which was basically “Blondes” told as a flashback.) Ultimately, Hilty delivers such standards as “I’m Just a Little Girl From Little Rock” and “Diamonds Are a Girl’s Best Friend” with efficient professionalism.
Special mention should be made of scenic consultant John Lee Beatty’s elegant minimalist set, costume consultant David C. Woolard’s witty duds (loved the button-bedecked chorines), and Peter Kaczorowski’s breezy lighting. Hilty is a talented performer who will surely get a show tailored to her own strengths at some point. She’s never less than enjoyable here, and the same is true of “Blondes” as a whole.
Presented by Encores! at New York City Center, 131 W. 55th St., NYC. May 9–13. Wed., 7:30 p.m.; Thu. and Fri., 8 p.m.; Sat., 2 and 8 p.m.; Sun., 2 and 7 p.m. (212) 581-1212 or www.nycitycenter.org. Casting by Binder Casting.
