There may be funnier musical comedies on Broadway than Tootsie, but don’t tell that to the audiences lining up outside the Marquis Theater. They are here for entertainment, with maybe a little bit of a message thrown in. And they’re in the right place: Tootsie is born to please. Based on the 1982 film starring Dustin Hoffman, the story was originally concocted by Don McGuire and Larry Gelbart. They created a smart, insightful look into a woman’s world—from a man’s perspective. An out-of-work actor, Michael Dorsey, reverts to becoming a woman in order to win a part in a bad Broadway musical (updated from a bad soap opera in the original film). Dorsey is prickly and difficult to work with as a man, to the point where even his no-nonsense agent gives up on him. He sees no choice for continuing as an actor except to switch gender. Ably supported by a book by Robert Horn and songs by David Yazbek, Santino Fontana (who appears as both Michael Dorsey and Dorothy Michaels) handles the material with impressive finesse. Just as Robin Williams learned when switching genders in the film “Mrs. Doubtfire,” there are many good qualities in women to be explored. While Fontana’s Dorothy is hardly a pushover, she uses her smarts in a friendlier manner to get things going the way she wants them to. Her assertiveness earns her the respect of the entire cast, especially Julie (a ho-hum performance by Lilli Cooper) and Max Van Horn, a much younger man played with dimwitted fun by John Behlmann. In the Broadway musical called “Juliet’s Curse,” Julie becomes a resurrected Juliet, who instantly falls for the hunky Max after she learns of her soulmate’s demise. Dorothy Michaels, never one to keep her ideas to herself, poses the question; wouldn’t it be more interesting if Max falls for an older woman, namely, Juliet’s nurse? While the director (a hilarious Reg Rogers) hates the thought of anyone messing with the script, the idea catches hold with the money-wielding producer. Voila! She outranks the director and “Dorothy” gets her wish granted. Gender lines and romantic mix-ups have Michael (as Dorothy) falling for a very modern Julie, while the dim Max finds Dorothy to be his love interest. This creates one of the funniest sendups of recent Broadway memory: Julie is confused when Dorothy gets physical with her, while the pursuing Max won’t take ‘no’ for an answer. What’s a girl to do? Adding to the fun are Michael/Dorothy’s roommate, the laconic Jeff (a beautifully layered portrayal in a show without many layers for the non-Michael characters) and Michael’s ex-girlfriend, the neurotic Sandy (Sarah Stiles). In a number reminiscent of “Getting Married Today” from Company, Sandy whips herself into a frenzy of self-doubt and second-guesses. Superior work is also delivered by Broadway pro Julie Halston, as the producer of “Juliet’s Curse.” Not only is the casting top rate, the production values live up to those expected of an old-fashioned Broadway musical. The sets (especially Michael’s/Jeff’s apartment) are exceedingly well done, and the costumes range from Renaissance robes to 1950s Italian chic. The brightest outfit (in more ways than one) is Dorothy’s sparkly red gown (which must weigh a ton in real life). The gown is such a scene stealer that it’s displayed in the Playbill program as well as the show’s advertising.
In the end, once the wig comes off for good, Michael Dorsey must make apologies to Julie (who’s just as dumbfounded by the gender switch as Jessica Lange was in the film) and the rest of the cast. Surprisingly, life goes on swimmingly once a real female is cast as Juliet’s nurse. Max Van Horn survives the news that his would-be girlfriend isn’t what he seemed to be, Julie seems ready to consider a new relationship with Dorothy’s male alter-ego, and even Sandy discovers new possibilities with a new partner. It’s a fitting end to this upbeat, hilarious, and sweet story that’s making a splash on Broadway.
