Big: The Musical

This is a smaller Big and a delightful one.  It's a new production, using a script that's been adapted by director Art McKenzie.  The story of a kid whose wish to be grown-up is granted, for a while, was a wonderful film with Tom Hanks in 1988.  Then a lavish and costly musical version ran six months on Broadway in 1996.  FAO Schwartz put big bucks into the show, and director Mike Ockrent made it into a virtual commercial for the toy store.  After Big, The Musical closed, author John Weidman, songwriters David Shire and Richard Maltby, Jr. and director Eric Schaeffer mounted a smaller version for a road tour.  They replaced half of the score with songs that had been dropped pre-Broadway.  They also reduced the presence of kids -- to make touring easier -- and enlarged the character of Susan, the adult co-worker with whom the boy has a romance.  But this version had two problems. First, I missed some songs I had enjoyed on Broadway.  Second, we saw too much of Susan while we wanted the focus to remain on the kids and especially on the Tom Hanks character, Josh. 

The creators' agent sent McKenzie 316 pages of script, including 28 songs - virtually everything that had been written for Broadway and for the road company, including no less than four ballads for Susan --  with the understanding that the Ritz could pick and choose from the material.  The McKenzie version has less toy store and less Susan, putting the emphasis on the adolescents.  Seventh grader Josh Baskin is infatuated with a girl who is out of his reach because she's in eighth.  After seeing her at the carnival with an older boy, Josh rashly wishes on an arcade machine to be big, and he gets his wish.  The Josh in a grown-up body lands a job with a toy company.  His little-boy enthusiasm causes a tough marketing executive, Susan, to fall for him.  Meanwhile, his parents are desperately upset over his disappearance.  In a wonderful song called "Stop, Time," Josh's mother wonders if she will ever see her missing child again and faces the truth that, should he return, she will soon have to let him go on to adulthood anyway. 

The match-up of an immature guy and an experienced woman creates humor and tension.  But when he realizes that he can't handle this adult relationship, Josh finds another arcade machine, makes a second wish and returns to his youth.

McKenzie directs with faster momentum than previous versions, and this production is a model for future ones.  Only the ending is a bit abrupt.  His choice of songs is sound, restoring good numbers like "Can't Wait" and "I Want To Go Home."  Matthew Campanella (age 11) is appealing as Young Josh, and Marc Ginsburg is superb as the adult Josh, belting his music professionally.  Jodi Lawrence sings beautifully as Susan, though she lacks chemistry with Ginsburg.  Brian Langlitz is fine as Josh's best friend.  Sheila Addis, as Josh's mom, doesn't get as much stage time as in previous versions but she does have the show's best song, "Stop, Time," and delivers it strongly.  "Stars," "Cross the Line" and "Coffee Black" are other musical highlights. 

A special treat is the fine dancing, choreographed by Amy Driben-Salcedo.