Milwaukee’s current season of Broadway shows ended in mid-June with a non-Equity production of Tootsie, which recently closed at the Marcus Performing Arts Center. Tootsie the musical is based on the 1982 hit film, starring Dustin Hoffman, in which he attempts to overcome obstacles to get hired as an actor – even if it means posing as a woman.
In the film, Hoffman was cast in a popular TV soap opera (which has been switched to a ho-hum Broadway musical in the updated musical version). The film was hugely successful, and it earned 10 Academy Award nominations. Much of the film’s charm is also due to the film’s top-level supporting cast, which includes Jessica Lange, Bill Murray, etc.
The musical opened on Broadway in 2019, with generally positive critical reaction but so-so audience demand. It closed in January 2020, not long before the entire nation endured its first pandemic shutdown.
The tour that came to Milwaukee starred Drew Becker as Michael Dorsey, the out-of-work actor who defies his agent’s expectations about his inability to get work. Posing as Dorothy Michaels, he is able to turn the show around with his suggestions. A co-star, Julie Nichols (Ashley Alexandra) is impressed by Dorothy’s assertiveness, and also Dorothy’s willingness to listen to Julie’s problems (mainly with men). To no one’s surprise, Michael starts to fall for her.
Meanwhile, their Broadway producer (played with flinty appear by Dianne B. Manaster) takes a liking to all of Dorothy’s ideas – to the point where the musical’s title is changed from “Juliet’s Curse” to “Juliet’s Nurse.” Under any title, the show ponders what road Juliet might take had she lived after the death scene in Shakespeare’s Romeo and Juliet.
Interestingly, it is this very concept that is explored in a real musical now on Broadway, & Juliet. Once again, art mirrors real life.
In general, Tootsie the musical features more over-the-top performances than the film, to the extent that it sometimes relies on cheap laughs and groaners. It does not aim at being highbrow entertainment.
Michael’s growing attachment to Julie is terrible news to Michael’s ex-girlfriend, Sandy, who refuses to give up on him despite his inattentiveness. As Sandy, Payton Reilly pulls out all the stops to creating a hilarious portrayal of a woman on the edge of insanity. Although she knows better than to continue pursuing Michael, there’s something about him that she can’t quite let loose.
Sandy and Dorothy (Michael in drag) are really polar opposites of each other, and their scenes together are always rich in comedy.
Another sidekick is Michael’s longtime roommate, Jeff, who tries to warn Michael about perpetuating this false image. Actor Jared David Michael Grant portrays Jeff as a cuddly, teddy-bear sort of guy that audiences come to love over the course of the show. Grant makes sure that the audience is aware of his hetero nature, whether it involves bedding Michael’s cast-off girlfriend, wearing plaid flannel shirts, or fetching beers out of the refrigerator.
The show’s creators have injected a fresh approach to the material, so Tootsie never feels dated. One contemporary addition involves another actor from “Juliet’s Nurse,” Max (Matthew Rella). Max is a parody of good-looking male actors with more brawn than brains. Almost incredulously, Max finds himself falling for his much older.co-star, Dorothy. His infatuation grows to the point where Dorothy’s face is tattooed on his chest. This reveal is one of the funniest points in this very comic, entertaining show.
Most of the songs are less-than-hummable, but they get the job done as far as moving the plot. The best (and funniest) of the tunes is “Unstoppable,” which closes Act 1. This production number has Dorothy scaling the heights of Broadway success. She appears on large, rotating posters as the star of Hello, Dolly! , The Sound of Music , and others.
As Dorothy’s fame continues to rise, her costumes get glitzier. “She” has a huge number of wardrobe changes during the show (especially the ones where Michael transforms to Dorothy while in his apartment). The costumes reach a climax with Dorothy’s glittering red gown (by William Ivey Long).
One must also compliment the show’s indefatigable ensemble, a crew of youthful dancers who add a lot of energy to the production. They appear often (even, paradoxically, showing up in Michael’s apartment). Often, they are singing while moving sets and props around the stage. This creates a sense of cohesion that holds this implausible story together.
