British humor has always seemed oxymoronic to me, and I am admittedly unacquainted with the works of P.G.Wodehouse about the bumbling, though good-natured, wealthy idler, Bertie Wooster (engagingly played by John Scherer), and his omniscient, manipulative butler, Jeeves (impeccably played by Martin Jarvis). One also cannot avoid the global reputation of Andrew Lloyd Webber, although, in this case, the production is so uncharacteristically undersized, just a few moments into the evening, its creator is soon forgotten.
More difficult to put aside were the much-publicized horror stories of poor reviews, countless rewrites and the years of difficulty since it was produced in London, in l996, through its long road to Broadway and last- minute recasting of investors (Lloyd Webber himself put up the emergency funds, when others pulled out in the Sept. 11th aftermath, so great is his belief in the play). However, any play should be judged on its effect, regardless of pedigree or prior reputation.
The homey tone of the night was preset outside the intimate Helen Hayes theater where a delightful couple was serving English tea and cookies. Once inside -- and it pays to come early -- the atmosphere was chaotic, as an apparent member of the clergy was conversing with audience members, a bombastic front man was handing out flyers announcing the show as a church fundraiser, stage hands were carrying up props through the aisles, and various other personages "kibbitzed" the audience.
Act One, once it finally got started, was entirely devoted to the set-up. Bertie is to star in a song and dance number called "Banjo Man" but, since his banjo is missing (the first of many manic moments), Jeeves connives him into retelling an anecdote to amuse the audience. Therein follows a tale involving a Shakespearean slew of switched identities with deliciously dipsy names: Bingo Little (Don Stephenson), Gussie Fink-Nottle (James Kall), Harold "Stinker" Pinker (Ian Knauer), Sir Watkin Bassett (Sam Tsoutsouvas), Cyrus Budge III, Jr. (Steve Wilson) and the ladies from whom they are either retreating or pursuing: Honoria Glossup (Donna Champlain), Stiffy Byng (Emily Loesser), Becky Watson (Madeline Bassett) and others. Since these, as presented, are mostly Benny Hill-type caricatures, and the humor in Roger Glossup's cartoon-y sets and Louise Belson's costumes soon wears thin, it was only extreme dedication that led me back from the tied Yankee playoff game at Sardi's after intermission.
However, something magical occurs in Act II, considerably enlivened by Lloyd Webber's tuneful songs, when you already know the characters as they hilariously fight among themselves for the women they love, and, indeed, they do pair off in Midsummer Night's Dream mode. For no apparent reason, there is a wonderful number called "Its A Pig," which dispels any doubts that you are having fun. Ultimately they all, especially Jeeves and Bertie, become irresistibly endearing.
Admittedly neither writer/lyricist Allan Ayckbourn nor composer Andrew Lloyd Webber seem adept at addlebrained, juvenile humor or mindless mini-musicals, and the tenor of the play is more Music Hall than Musical, but veteran music director Michael Flaherty keeps it light and lovely. If you can get through the tedium of the first half, the payoff in the second is worth the wait.
