'The Happy Time': a Little Charmer
Signature Boils Down a Would-Be Blockbuster and Makes It Effervescent

By Nelson Pressley
Special to The Washington Post
Thursday, April 10, 2008

In 1968, John Kander and Fred Ebb followed their "Cabaret" with "The Happy Time," which, sadly, became the first Broadway show to lose a million dollars. Watching the rather charming and modest production in Signature Theatre's tiny Ark space, you'd never guess that such a fiscal debacle was possible.

In the first place, it's not a bad show, though hardly the blockbuster material apparently envisioned by original producer David Merrick. The Broadway premiere was produced to the hilt, chockablock with stage effects and extravagant dances by director-choreographer Gower Champion.

Such production is impossible in the Ark, where the stage isn't much bigger than your average residential dining room. So this rare revival, part of Signature's ongoing Kander & Ebb Celebration, necessarily boils the musical down to its eccentric story: a coming-of-age tale about Bibi, a small-town French Canadian boy, and Jacques, the sophisticated bachelor uncle he adores.

This is a revised version of the 1968 show, over which there was considerable haggling. "The Happy Time" had already been a book, a play and a film -- and the musical, with a book by N. Richard Nash, went its own way. Or, it's generally reported, Champion's way.

What's at Signature is a collection of fine theatrical songs celebrating the joys and disappointments of life as Jacques, an international photojournalist, goes home, inspires Bibi beyond all reason and eventually considers growing up himself.

The score was penned in a different emotional key from "Cabaret," of course, to say nothing of "Kiss of the Spider Woman" (running in the MAX next door, until the much-anticipated "The Visit" -- a very different tale of coming home -- replaces it next month). "The Happy Time" is comparatively heartwarming, though ultimately at the arm's length that typifies so many Kander and Ebb musicals. Bibi tries to be like Jacques, while Jacques dallies with an old flame -- but will any of it really work out?

It's nostalgic but ultimately bittersweet, with tunes that rev up the fun but also tally regrets. The arrangements are lean, played by piano, bass and drums, and you couldn't squeeze another musician into the room, not with the cast of 17 filling the barely dressed stage. (The primary element in Todd Edward Ivins's scenic design is photos projected in frames on the back wall -- a notion that Champion used, too.)

There is fun to be had in the happy rounds of "He's Back" and the waltzy title tune, which turns out to be sneakily catchy. And there are plenty of high times in "Catch My Garter," performed by a quartet of high-kicking showgirls, and "Tomorrow Morning," as Bibi sneaks out for a good time at the local cabaret and gets smitten by the can-can. The music goes 'round, the cast fills the stage, the frisky gals spill into the aisles and it's hard not to tap along.

The sentimental stuff is pleasing, too: Bibi's plaintive "Please Stay," nicely sung by the winning Jace Casey, and "Among My Yesterdays," one of Jacques's increasingly introspective numbers. Michael Minarik's Jacques is an awfully cool customer, though, which seems like a hedged bet. Minarik's sturdy tenor voice has a worldly edge (the part was originally played by Robert Goulet), but Minarik is very still and cautious in the role, not the loose, lively source of heat that would naturally attract the affections of the young boy and the lovely Laurie.

Still, the cast is strong to the furthest edges, which is part of why it generally feels like a luxury to be able to see the show in this space. Tracy Lynn Olivera and George Dvorsky offer compelling turns in small roles as Bibi's parents, and Carrie A. Johnson, wearing the macrame outfits that are the most elegant examples of Kathleen Geldard's effective period costumes, makes a winsome impression in her late-appearing role as Laurie.

As the grandfather, David Margulies appropriately relishes his role as mischievous ringleader and dispenser of wisdom. It's a scene-stealer of a part; Grandpere gets both of the big, lively numbers in the second act, "The Life of the Party" and "A Certain Girl."

The latter number -- a vaudeville trio for Grandpere, Bibi and Jacques -- reveals the production's weakness for fundamentals of song and dance, so maybe the pendulum has swung too far the other way with this show, now fully focused on the story and skimpy on the panache that the score frequently invites. Here's hoping "The Happy Time" someday finds its happy medium; until then, this view will do.

The Happy Time, music by John Kander, lyrics by Fred Ebb, book by N. Richard Nash. Directed by Michael Unger. Musical direction, David Holcenberg. Choreography, Karma Camp. Lighting design, Mark Lanks; sound design, Matt Rowe. With Rob McQuay, Amy McWilliams, Kate Arnold, Emily Levey, Lauren Williams, Rachel Zampelli, William Beech, Rafael Hernandez-Roulet, Jordan Moral, Matthew Nee and Jordan Silver. About 2 1/2 hours. Through June 1 at Signature Theatre, 4200 Campbell Ave., Shirlington. Call 703-573-SEAT or visit http://www.signature-theatre.org.