The New Yorkers, the Encores concoction at City Center this week, transports us to a world where nothing makes sense and, even better, nothing has to. While we in the twenty-first century labor strenuously to make sure everything’s motivated and logical in our musicals, it’s refreshing to be reminded that nearly 90 years ago, silliness reigned. Jokes that are unimaginably corny or improbably blue are thrown across the footlights with not an ounce of shame and a surprisingly high percentage land. A huge cast and a 29-piece orchestra (!) swinging out winsome orchestrations by Josh Clayton and Larry Moore do more than right by sixteen sumptuous Cole Porter songs, many of which you won’t know. And it’s all lunacy: It’s as if we’ve the great good fortune to be included in a bathtub gin-besodden soirée at a well-appointed speakeasy (laugh-out-loud funny sets by Allen Moyer) and we’re all drunk and, magically, everything’s funny and romantic.
But doesn’t the very name, Cole Porter, evoke all that? (You’d think it would bring to mind a menial dirty job in a never-coming-back energy industry, but no.) Like The Great Gatsby, he was a mysterious millionaire from the Midwest, and what he chose to do with his life was to entertain his friends with jokes about concupiscence (“I want you to holler ‘hooray!’ when first you see me in my so-to-speak”) and sinuous melodies. After Yale and military service, there was a dilettante period where he married someone even richer, resided in Europe and didn’t much care if his songs made it on Broadway. Once he did, The New Yorkers was his third creation for The Great White Way, the third of many; he was in his late thirties, but still early in his prodigious career. You may have heard me complain about comedy songs that go on and on and just aren’t funny. Here are masterpieces of the genre: clever 32-bar mirth-makers that actually make people laugh. And one gets the sense Cole is just tossing them off.
But, amidst this madness, there’s an extraordinary and utterly serious imagining of what a prostitute’s life is actually like. It stands out like a sore thumb, sure, but what a plum thumb Love For Sale is! The harmonies travel to unexpected places: listen to what’s happening during the line “Love that’s only slightly soiled; love for sale.” then go back and consider what an amazing thing to say that is.
The New Yorkers is frank and thoroughly unromantic about sex. A society woman with a psychological malaise keeps eagerly asking her doctor, “Shall I strip?” and the madcap highlight of this evening has a dancing chorus running around a bed with huge turkey legs while a couple tussles under the sheets. “A romp and a quickie is all little Dickie means when he mentions romance,” goes a song.
But it’s here where Porter nerds like me express appall. That line’s from Most Gentlemen Don’t Like Love, written seven or eight years after The New Yorkers. What’s it doing in this show? What’s Night and Day doing in it? Or the patter song introduced by a young Danny Kaye in the forties, Let’s Not Talk About Love? The addition of these Porter evergreens to an already very good score makes absolutely no sense. Jack Viertel and his team at Encores, missing certain songs, arrangement and script pages, opted to jettison accuracy in order to give an impression of what musicals of the period were like. And then call attention to their prestidigitation by quipping “We’d sing Friendship now, but that’s from a different show.” The same show, in fact, that gave us Most Gentlemen Don’t Like Love
This is, of course, a minor nitpick. If the move to stuff this evening with some other Cole classics makes no sense, well, not much in the show makes any sense in the first place. Take Wood, for instance, written by the show’s star comedian, Jimmy Durante. During it, the cast builds a barricade a la Les Misérables, for absolutely no reason at all. And the senselessness of this stage action astounds us into such fits of giggles, we don’t stop to ask if musicals were ever really this stupid.
My less minor nitpick is about jazz star Cyrille Aimée’s pitch accuracy on Love For Sale. This is a jazz number too brilliant to be played with. An audience new to the song wouldn’t be able to tell where Porter ends and the surreal (for that’s how her name is pronounced) begins. But mostly the songs are delivered with winning aplomb; the large cast includes all sorts of characters actors you’ve loved for years (Eddie Korbich, Kevin Chamberlin, Ruth Williamson) and the ace leading lady is the British phenomenon Scarlett Strallen.
The New Yorkers doesn’t invite serious analysis – the sort of thing I’m used to doing here. And a disclosure is needed: In the company of 31 lunatics on stage is a close friend of mine, Matthew Griffin, making his professional debut. It strikes me as a perfect match: he’s delightful and ridiculous just like the show is. And there’s a line towards the end about things that can only happen in New York. Like 60 people, actors and musicians, on a huge stage in a huge theatre, performing this totally forgotten bit of whimsy from 1930. I Happen To Like New York is the finale, and tears streamed down all our faces, in part, because we know nothing like this could ever happen anywhere else.