I’ll admit it—I’m a huge Sondheim fan.
But even so, I never saw his “Road Show” (music and lyrics by Stephen Sondheim, book by John Weidman) in any of its previous iterations, and there have been a few. The first workshop production in New York was titled “Gold!” and later “Wise Guys;” it opened in reworked form as “Bounce” at the Goodman in 2003 to mixed reviews.
This version, which ran first at New York’s Public Theater in 2008 as “Road Show,” is different still; both characters and songs have been cut or added, and the intermission removed. Now a tight 90 minutes, this fairly spare production in Chicago Shakespeare Theater’s Upstairs space has survived the creative journey. And in the hands of Sondheim specialist and CST Associate Artistic Director Gary Griffin, this Road Show is worth the trip.
Loosely based on the fascinating story of the real-life Mizner brothers, Addison and Wilson, the play begins at Addison’s deathbed, but then follows the adventures of Willy and Addy as they strike gold in the Alaskan Gold Rush, travel across the globe, then hit it rich in New York and Florida.
The stage is set with the backdrop of a giant world map that lights up as the globe trotting brothers make their way in the world, seeking fortune, fame and love. As played by Andrew Rothenberg, Willy, the ne’er-do-well older brother, is a risk taker and a snake oil salesman. He is quick to abandon his family for the lure of money, women and drugs—“The Game,” as he calls it.
Addy (played by the heartbreaking and affective Michael Aaron Lindner) is a cautious dreamer who idolizes his stronger brother. He fails spectacularly investing in businesses in Hawaii, India and Guatemala, but lets those failures inform his artistic vision. He connects with a young man of means (Hollis Bessemer, played by the handsome, golden voiced Robert Lenzi) and builds most of the Spanish Revival-style mansions in Palm Beach. Their dream and their undoing is Boca Raton, Fla., a bill of goods by the sea sold to the public as paradise found.
Throughout the piece, Sondheim’s gorgeous melodies and clever wordsmithing enchants. Griffin makes the most of his multi-talented cast with an on-stage upright piano, manned ably by Matt Deitchman, joined occasionally by other cast members as they pick up the odd violin, banjo or even tuba to add color and texture to each song. It was just the right amount of orchestration, never overpowering the score.
The stripped-down supporting cast of 11 each plays multiple roles, sets their own scenery and props, and travels up and down the unfinished road that is the main set piece. Pay special attention to the versatile McKinley Carter as the saucy widow Myra Yerkes and the haughty Palm Beach matron Eva Stotesbury, and Larry Adams, who reminded me strongly of the great character actor Rip Torn in both delivery and likeness.
While this might not be my favorite Sondheim show, this lovely production is a must for any real fan of musical theater. Gary Griffin certainly has proven that he has the magic touch with Sondheim material. I applaud CST for taking on the daunting canon of work, one show at a time. That there are two of these winning productions this year— first the fabulous “Gypsy” and now “Road Show”—is our great good luck.
“Road Show” will run through May 4 in the Upstairs theater at Chicago Shakespeare Theater at Navy Pier. For tickets and additional production information, visit Chicago Shakespeare’s website.
Photo by Liz Lauren.
