How to Succeed in Business Without Really Trying

Critiqued by Holly Bartges

July 26, 2011

It's not enough to state PHAMALY's production of How To Succeed In Business Without Really Trying at the Space Theatre is spectacular. That's expected from Colorado Backstage and from me. It's a well-known fact I am a Fan of these amazing artistic people.

But How To Succeed In Business? A 50-year-old out of date musical with its sexist attitude, sporting The Brotherhood of Man? When I hear the lyrics, Happy to keep his dinner warm, I want to choke. It doesn't matter it is on Broadway, again. I've read the critics' comments. When Broadway is awash with revivals, I shudder over the lack of creative juices flowing.

Cast in Phamaly's production of How To Succeed Photo Credit courtesy of Michael Ensminger

When I first heard PHAMALY planned on producing this show, my upper lip slightly curled. There are many wondrous productions I will never ever be able to get enough of: CATS, Les Miserables, Phantom, and Phantom of the Opera, to name a few. On the other hand, there are some that once seen is one too many times. Unfortunately, or unfortunately as the case may be, How To Succeed crossed my path several times over. No, of course, I wouldn't turn PHAMALY down no matter what they chose to do. I'm a critic, but I'm not petty, and well aware theatres normally aren't in the habit of consulting critics before scheduling a particular show. When I walk into a theatre, objectivity claims my thoughts, locking any prejudices in the car.

This is a rather important introduction because it my understanding several others thought the same thing.

I almost didn't get to see it, but thanks to the eagerness of PHAMALY's choreographer, Debbie Stark, she wasn't going to allow small barriers get in the way. I am indebted to her persistence.

Now the truth: PHAMALY's production under the direction of Steve Wilson KNOCKED ME OUT.

The humor, the tongue-in-cheek approach, the comedic characterizations, the energy, the choreography, the voices, the brilliant lighting design, the set design, the large cast, the acting, the expressions, the music, made for a thrilling, fun-packed event, quite frankly never expected. I would even go so far as to say I could see this production again. Two days ago I never would have thought that, much less say it.

Of the 27 cast members, not one was just a body onstage. In a large cast, no matter what the theatre there is at least one who thinks no one pays attention to them and they can just be there. Sometimes there is even more than one. I have a habit of looking for them. It tells me a great deal about the cast and the director. Every one covered themselves with a developed character fit for their slot. No one held back. They all gave 120%, and I was breathless.

Jeremy Palmer in PHAMALY's production of How to Succeed in Business Photo credit: Michael Ensminger

Jeremy Palmer took over J. Pierrepont Finch. When the lights come up, Palmer swings from the rafters buckled into a window washer's getup reading a book, narrated by the Voice himself, Leonard E. Barrett Jr. Finch will do anything to succeed, and this book tells him exactly what to do. Even with tongue-in-cheek, Palmer's Pierrepont is honestly believable. Who hasn't witnessed the one who will do anything to get on the right side of a Boss, and buffalo his way in? Because success is in the title, there are those will do anything to push ahead. Ah, yes, there is always truth lurking in the shadows of out-of-date stupidity.

The naive, innocent, wide-eyed secretary, Rosemary deliciously comes alive through the insight of Jenna Bainbridge. Her beautiful voice and bright eyes reflect a young woman falling head over heels in love the first time they meet. Rosemary hears wedding bells without knowing a thing about this puddle-jumping cad.

Speaking of cads, Daniel Traylor takes on the awkward, bumbling, lazy nephew of J.B. Biggley (Mark Dissette). Bud Frump works in the mailroom, doing as little as he can, looking and scheming for a promotion that never comes. No one has ever or will ever overshadow Traylor in this role. He's a marvel, and oh, so difficult to keep the eyes off of him. He never stops moving. Rubber muscles keep him in perpetual topsy-turvy animation. No, that's not a disability. That's a gift. Gracefulness will never be a description for Bud, and yet Traylor captures the gracefulness of a cat. Why he isn't black and blue by now is beyond me. Maybe he is, but too much of an artist to admit it.

Dissette's J.B, owner of the World Wide Wheelchair organization will do anything to make himself look good. Jumping on ideas, easily influenced, and dreads talking to his wife. He's a rattle-brained scattered executive, and Dissette is magnificent.

All too many times I have said, PHAMALY is so well organized and put together, one can easily forget these are people with major disabilities They are qualified actors who should be seen as actors. In the midst of the performance, it occurred to me, this is wrong. Their disabilities should not be forgotten or ignored.

No one puts that into greater perspective than Nicki Runge who plays the coffee lady. She's deaf. A deaf actor in a musical? Who dances in complete harmony with her cohorts and can't hear the music? She's awesome. Through her sign language, she adds greatly to the humor. Her comedic side is honest, real, and natural. She turns a coffee lady into a star.

In one scene when she announces during a coffee break there is no coffee, the employees come unglued with the Coffee Break song. Even though she tells them there will be coffee tomorrow, one of the employees complains they may not last that long. Oh, coffee people can relate. I feel that way when I realize early in the morning I had neglected to make coffee the night before. What? I have to wait 15 minutes? Fortunately, that doesn't happen often. The spasmodic antics, the rolling on the floor, the collapsing in agony, and the exaggeration. Oh, the reality of truth.

When Biggley announces a friend of his family is applying for a secretarial position, no one is prepared for Lyndsay Giraldi-Palmer's Hedy La Rue, a cigarette girl with no skill except a high squeaky voice and a penchant for outrageous revealing outfits, on the make for anyone of importance wearing pants. Giraldi-Palmer is a riot, a delightful, playful joyous riot. Hedy La Rue will never ever again flip into my mind without conjuring up her image.

When Biggley announces a new Vice President of Advertising, and the self-centered strong-willed Ovington marches into the midst, the beloved Lucy Roucis takes center stage. Not to be outdone, Finch makes sure Biggley knows she is from a rival college, setting the scene for a madcap conniption fit. Her resignation is expected, and Finch replaces her, which is what he planned on, he thought. A scheme develops for a high faluting advertising campaign based on a planted kernel of thought by the rattle-brained Bud. Blowing up in is face, Finch sees himself falling off the ladder of success once again washing windows.

Just about the time one thinks there can be no more surprises, enter Wally Womper, Chairman of the Board identifying with Finch because he too once was a window washer. It has been a thrill to watch Edward Blackshere develop as an honest to goodness comedic actor. As Womper, he shines.

Daniel Traylor and Jeremy Palmer in PHAMALY's production of How to Succeed in Business Photo credit: Michael Ensminger

When Finch smells the ugly reality of failure, Rosemary shows growth in this naive little girl grown up with her song I Believe in You. She didn't fall in love with an executive. She fell in love with the man, Finch. In her eyes it matters not what he does. It's who he is and who he has become that warms the cockles of her heart.

Scott Lubinski on the keyboards, sets the exciting musical tone along with Mitch Jarvis on guitar, Rick Thompson on bass, and Larry Ziehl on percussion.

M. Curtis Grittner's scenic design is sheer genius with the Space Theatre's stage surrounded by cutouts of city buildings sporting lights in the windows. The World Wide Wheelchair Company sits right in the midst of the Big City.

Linda Morkin's costume designs are wondrously appropriate for every cast member.

The spectacular lighting designed by Stephen D. Maazzeno charmingly plays with the actors' moodful antics with bright colors and whirling wheels highlighting the actors, without wanting to take over.

Stark and Cindy Bray's choreography pays close attention to the needs of the actors giving them graceful, musical, farcical fun. From the light in their eyes, they love every moment.

Would that it was possible to name and highlight every actor, but when you see this production, you won't need to be told anything. They will show you who they are and where their passions lie.

I never ever thought I would see the day when I could honestly say How To Succeed would thrill and excite me, but it has and it does.

Theatres that pride themselves on comic relief type plays should definitely send their producers and directors to this production. There is much to learn from these highly artistic people. Many of PHAMALY's members would greatly add to many laugh-out-loud shows. Time to forget shunning actors with disabilities and learn to work with them.

Running through August 7 at the Bonfil's Space Theatre in the Denver Performing Arts Complex, How To Succeed is one production that should not be missed by anyone. It is sheer, total, unadulterated sparkling, ambitious entertainment.

How To Succeed In Business Without Really Trying
Book: Abe Burrows, Jack Weinstock, and Willie Gilbert; Music & Lyrics by Frank Lesser
directed by Steve Wilson; Musical Direction: Scott Lubinsky; Choreography: Debbie Stark and Cindy Bray