Julia Mcammonn, Randy Fox, Elliot White, Ron Barnett and Emily Jones (Photo by Nathan San Filipo)
Reviewed by Martίn Hernández
Long Beach Playhouse
Through March 1
RECOMMENDED
Photo Credit: Nathan San Filipo
Notwithstanding music by Charles Strouse, lyrics by Lee Adams and a book by David Newman and Robert Benton (two of the screenwriters for the 1978 Superman movie), this 1965 musical comedy sadly flopped on Broadway. Gleefully resurrected here by Foster Cat Productions, what the plucky performers may lack in notable vocal range they make up for with heartfelt dedication to the show’s kitschy plot and their humanizing of its comic book characters.
Superman’s (Elliott White) fidelity to the denizens of 1965 Metropolis is boundless (“Doing Good”). Whether it’s stopping a bank robbery, saving babies from fires or kittens from trees, he is a hometown hero (the townspeople’s paean “We Need Him”).
Daily Planet newspaper reporter Lois Lane (a tuneful Emily Jones) has stronger feelings for Superman – he has saved her life several times – yet her love goes unrequited (the tender “It’s Superman”). Disguised as Clark Kent, mild-mannered reporter – and Lois’ co-worker – Superman feels secure in his secret. Rival Daily Planet reporter Max Mencken (co-director Harry White), however, is envious of Superman’s fame and desperate to make a name for himself with a possible scoop on Superman’s true identity
Meanwhile, Dr. Abner Sedgewick (a manic Cooper McAdoo) is a ten time Nobel Prize loser and still a lowly college professor at MIT – no, not that one, but Metropolis Institute of Technology. Driven bonkers by jealousy for those who won, Sedgewick’s twisted logic makes Superman the target for payback with a plot to diminish him in the eyes of his adoring fans (“Revenge”). When Max and Sedgwick join forces, their mutual enmity for the Man of Steel may just crush him like an aluminum can.
As Max’s neglected girlfriend Sydney Sharp, Jaley Hoyt delivers a rousing “You’ve Got Possibilities,” a comic assaying of Clark’s romantic offerings. McAdoo also displays marvelous vocal prowess in Max’s diss track to Superman, “So Long Big Guy.” Will Fulginiti’s Jim Morgan, Sedgwick’s loyal fellow researcher, presents a viable romantic option for Lois as they both find that they are superfluous to the ones they esteem (“We Don’t Matter At All”). Julia McCammon, Max Downs, and co-director Raphael Berglas as a whacky trio of Russian acrobats – hired muscle for Sedgewick – provide additional comic punch. A better actor than singer, Elliott White acquits himself well, notably with his earnest rendition of ”The Strongest Man in the World,” Superman’s lament on his woeful downfall.
The bold cast is nimble enough under Paris Langle’s efficiently simple choreography. which is boosted by keyboardist Ron Barnett and drummer Randy Fox’s yeomanlike performance. Scenic designer Jena Ziomek has fashioned some colorful and inventive comic book-inspired set and props; she also performs zany comic roles, ranging from a stereotypical TV reporter to a coed who’s a Superman fan. Co-directors Harry White and Berglas work wonders staging the show on a small stage, with funny fight scenes and a wild finale (“Pow! Bam! Zonk!”) that should satisfy many a comic book fan.
Long Beach Playhouse, 5021 East Anaheim St., Long Beach. Opens Fri., Feb. 20; Fri.-Sat., 8 pm, Sun., 2 pm; thru March 1. https://lbplayhouse.org/event/its-a-bird-its-a-plane-its-superman-the-musical/ Running time: two hours with a 15-minute intermission
