Tootsie, Capital One Hall, Tysons, VA

 


The first national tour cast of Tootsie. Photo credit: Evan Zimmerman.

“Tootsie” was an award-winning romantic comedy film in 1982 starring Dustin Hoffman as an out-of-work actor who becomes a better man by masquerading as a woman. The same premise serves this show, “the comedy musical” Tootsie, created by Robert Horn (book) and David Yazbeck (music and lyrics). Most of the central characters remain, but many of the attitudes have been updated. After all, much has changed in the past 40 years.

Michael Dorsey is an egotistical, narcissistic stage actor so committed to the truth of his art that he is perpetually challenging directors and playwrights. His reputation has spread through the New York theatre community so that he is unable to get a job. When his girlfriend loses out on a role in a musical sequel to Romeo and Juliet, Juliet’s Curse, Michael dons a wig, dress, and heels and auditions as Dorothy Michaels. Dorothy is such a success that the producer changes the show’s title to Juliet’s Nurse.

Inevitably, Michael is unable to conquer his stubbornness and soon clashes with the show’s director/choreographer, but this time it is in defense of his female co-star, Julie, for whom he is developing feelings. Michael learns that women confide in each other because they listen. Julie shares with Dorothy what she is looking for in a man. Later, as Michael, he puts the moves on Julie using that information and ends up with a drink in his face. One night, in Julie’s apartment as Dorothy, Michael kisses Julie, who is confused by what has happened. She’s not alone: studly reality TV star Max, making his stage debut as Juliet’s brother, believes and confesses that he has a “thing” for Dorothy.  

Among those along for the ride are Michael’s co-dependent girlfriend Sandy, his roommate Jeff, and womanizing director/choreographer Ron.

Eventually, of course, Michael must come clean and reveal himself as Dorothy, professing his love for Julie. Julie explains that his deception has hurt her deeply, along with numerous others. He and she may have a future, but trust has been broken and it will be difficult to rebuild. What kind of relationship they may be able to re-establish will take time. Whether it will be a romance or friendship is to be determined.

I did not see Tootsie during its nine-month run in New York, where it won Tony Awards for its book and its leading man, Santino Fontana. This production is most likely a somewhat slimmed down production based on the original. The program credits both director Dave Solomon and original Broadway director Scott Ellis and scenic designers David Rockwell (Broadway) and Christine Peters (tour), as well as Broadway choreographer Denis Jones (though with no tour choreographer credited). Costume designs are by William Ivey Long and lighting design by Donald Holder.

One very unusual aspect of this production is that it is booked for very short runs, for the most part, as was the case during its three-day stop at Capital One Hall. More typically, a “first national tour” would play week-long (or weeks-long) runs and would include major cities. (Wicked is scheduled to begin a seven-week run at the Kennedy Center Opera House beginning December 3.)  While there are a few major cities (Kansas City, St. Louis, and Dallas, for example), among those missing are Atlanta, Boston, Houston, Denver, and major cities in California (its only California stop will be Thousand Oaks, 40 miles from downtown Los Angeles). The markets this tour has booked are what could be described as mid-size: the next four stops after the Tysons run are Akron, Toledo, Knoxville, and Springfield, MO.

Another unusual aspect for a “first national tour” is the cast is non-Equity. Most of the cast members at Washington’s performance venues are members of Actors’ Equity Association, the union representing professional actors and I am honestly surprised that a tour of this size would be non-Equity. This is not to say or imply that the cast was in any way unprofessional in their performances, though their program credits are less impressive. When one is paying the same as at other venues to see more experienced performers, one expects to see the same level.

Drew Becker stars as Michael Dorsey/Dorothy Michaels. He works hard to “sell” himself as both Michael and Dorothy, though this Dorothy would fool no one for more than a couple of minutes. Ashley Alexander makes an engaging Julie, clearly at a crossroads in her life. Payton Reilly is over the top as Sandy, Michael’s self-destructing girlfriend, drawing laughs with every entrance. It was unclear who played Jeff as it was not the listed actor, who was of a different build and race, and no announcement was made nor notification in the program. Ostensibly, it was his understudy Brian Cedric Jones. Whoever it was takes roommate Jeff from disinterested observer to accomplice in the fakery. Matthew Rella’s airheaded Max is an endearing lug, not too bright or too talented. Adam Du Plessis is suitably unctuous as Ron. Kathy Halenda plays producer Rita with great authority and command.

A special nod to the dancers, whose precision and energy carried the big numbers.

As mentioned, Robert Horn not only moved the story from that of a television soap opera to a Broadway musical, he updated some of the social context. Still, the fact is that we laugh at a man dressed as a woman, which, in the current atmosphere, seems an outdated relic from the past. The lines include inside jokes and theatrical references, with genuine wit.

I had previously seen two shows with music and lyrics by David Yazbeck, The Full Monty and The Band’s Visit. I heard reminders of the Full Monty score in this one. There are similarities in the humor and down-to-earth lyrics, though I can’t say that the score is really memorable except the Act I closer, “Unstoppable.”

This was my first visit to Capital One Hall, which is a relatively new performance space. The theatre is impressive, modern, and comfortable, with a bit of grandeur and elegance.

All in all, I was disappointed by the evening, perhaps having been spoiled by the last two musicals I have seen, Guys and Dolls at the Kennedy Center and Into the Woods at Signature Theatre.


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