[title of show], the little musical that referenced itself all the way to a 2008 Broadway run, is enjoying a solid New England premiere in a SpeakEasy Stage production at the Boston Center for the Arts.
Originally, Jeff Bowen (music and lyrics) and Hunter Bell (book) played themselves in the process of creating, revising, expanding, and taking to ever-greater heights the show itself, with the help of two actress friends. The self-referentiality is constant and provides much of the meat of the show: ("Susan, you're quiet." "Well, I didn't have a line until now"…"It's OK, Larry, we worked it out with the union so you can talk.") Cute, clever, and different, the show also boasted some of the best theatrical lyric writing that's come along in a while, along with much comedy, many (perhaps a couple too many) in-jokes, and, mercifully, almost no schmaltz.
Does the show work outside the city of its birth? This production proves that it can. The struggle to create something new, to express oneself, and to touch people is universal; New York just happens to be a place with an unusually large concentration of people with an inexplicable desire to do so through theater.
Happily, the Boston version has two gifted musical comedy performers at its center. Jordan Ahnquist and Joe Lanza furrow and shimmy their way through a lighthearted yet soulful dramatization of friendship and the creative process, with agility, panache, and musicality. Both have the ability to command the stage without hamming (though Mr. Lanza is a more than credible ham when he wants to be).
Val Sullivan and Amy Barker as Susan and Heidi give the boys a run for their money in grace and charm (and acting chops). Their voices, though, especially Ms. Barker's, were on the weak side; perhaps it was an amplification or monitoring issue, but there were also some intonation problems during four-part harmony sections. These flaws marred a few of the musical numbers a bit. However, Ms. Sullivan milked the wackiness of her role to very funny effect, and Ms. Barker sparkled in her more straightforward part. And the sterling, deadpan work of music director Will McGarragan, behind the piano as Larry, shouldn't go unmentioned either.
It's not an especially long show, but it feels a little pudgy around the middle to me. I found myself growing a little impatient with how quotidian it gets at times. The whole concept is that it's a show about the trials, tribulations, and details of producing a show, right down to the filling out of forms; but these bouts of musicalized realism now and then interrupted the dramatic arc of the story, such as it is, and grew a tiny bit tiresome.
Nonetheless, overall it's a delightful evening of theater, with loads of energy, sprightly staging by director Paul Daigneault, smart and boisterous choreography by David Connolly, and very well-executed technicals, including impressive sound (Aaron Mack) and lighting (Jeff Adelberg) and Seághan McKay's perfectly timed projections. Most of all, the whole cast, and especially the two brilliant leads, take us on a joyful, funny, and refreshing ride.
[title of show] runs through Feb. 13 at the Boston Center for the Arts. Ticket prices vary; visit the website or call 617-933-8600.
Photo: Todd H. Page