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XX

History of the Show

George (1898-1937) and Ira (1896-1983) Gershwin were an incomparable team. Individual accomplishments aside, the two were responsible for some of the best-known American standards from Tin Pan Alley, stage and screen. Even George's classical compositions, resonating with jazz and African-American influences, can be hummed whistled or sung by us all. The Gershwin brothers have become part of our collective American consciousness.

Consider current events. Any similarities? Yes! Girl Crazy debuted on October 14, 1930 at the Alvin Theatre on Broadway. During the Great Depression, the American public craved a different kind of entertainment. Revues and musical comedies tempora rily alleviated worries and offered some relief from the seriousness of everyday life. Characterized by lavish production numbers, glorious costumes, grand music and comedy routines extracted from Vaudeville, the shows were a huge success.

The 1930s are a veritable gold mine of such productions. Remember Cole Porter's Anything Goes, Rodgers and Hart's On Your Toe s, Kern's Roberta, Schwartz's The Band Wagon, and, of course, the Gershwin's Pulitzer Prize-winning Of Thee I Sing.

Fast-forward to the 1990s. A conservative backlash has developed because of the extravagant excesses of the 1980s. Companies are downsizing, outsourcing, closing plants and/or adapting to new technologies. Change and uncertainty are commonplace. Cultural programs and funding have been cut within our school systems and at professional theatres everywhere. An upbeat, musical antidote would be most welcome: Something familiar, something to remind us of "the good old days," something fun and lighter than air. Voila! Revive, recreate, rediscover shows and tunes from the heyday of the American musical theatre.

And thus began the rebirth of Girl Crazy as Crazy for You. Work on the stage remake began with Dallas multimillionaire Roger Horchow's involvement in 1988. "Let's put on a show" fever had struck once again! He'd been a lifelong fan of George Gershwin's music. He even remembered meeting the famed composer-pianist at his parents' home. As Mr. Horchow told the Dallas Morning News, "I don't remember what he played, of course. I just remember loving it!"

When Mr. Horchow sold his mail order business (The Horchow Collection), he earmarked the profit toward the fulfillment of a dream: Producing a revival of Girl Crazy (his favorite show) on Broadway. Licensing rights were granted by the Gershwin estate, and the pow-wows began in earnest. As producer, Mr. Horchow hired the director, writers and designers and booked the Shubert Theatre for the show's opening. Investing more than $5 million of his own money into the $7.5 million project, he adamantly declared to the New York Post that it was his first and "last show. This is the only one I wanted to do. We hope to do it in other cities, but not any more shows..."

Despite its fine score, Girl Crazy had a storyline completely inappropriate for today's society and audiences. In an interview with Kevin Kelly of the Boston Globe, playwright Ken Ludwig (of Lend Me a Tenor fame) said, "All those musicals' books of the '20s and '30s were awful, but Girl Crazy seemed to me the awfullest (sic) of all! It was dumb, silly, beyond silly. And full of ethnic humor that wasn't funny at all. I decided I'd have to rewrite from scratch. And I wondered how this would play with the Gershwin estate, principally the three Gershwin nephews. To be honest, they were more than willing to do anything to get the show back onstage, partly, of course, because of continuing copyrights, but also as ongoing testimony to George and Ira."

Given access to the entire Gershwin music catalogue, Ludwig (along with director Mike Ockrent) conceptualized a "new" plot, rearranged the score, deleted some songs, borrowed others from various Gershwin shows, and "rediscovered" still more: Naughty Ba by, What Causes That, Tonight's the Night, But Not for Me, Embraceable You, I Got Rhythm, and K-RA-ZY for You, which provided the musical with a new name.

Crazy for You opened at the Shubert Theatre February 19, 1992 to critical acclaim. Frank Rich of the New York Times said, "The show is bursting with original talent that takes off on its own cocky path, pointedly mocking recent British musicals even as it sassily rethinks the American musical tradition stretching from the Gershwins to (Michael) Bennett." Other critics were equally crazy for the musical: "Bright, recession-proof, stuffed with one-line zingers"..."We're back in the lost paradise of the American musical, with glitter and girls, legs and voices, melodies of insouciant mastery"..."An exuberant evening of amusing sight gags invented by Mr. Ockrent, stunning costumes by William Ivey Long, energetic, clever dances by Susan Stroman and marvelous Gershwin music."

Four years and 1,643 performances later, the final Broadway curtain dropped. Crazy for You had won 3 Tonys (Musical, Costume Design, Choreography); 2 Drama Desk Awards (Musical, Choreography) and 5 Outer Critics Circle Awards (Broadway Musical, Choreography, Scenic Design, Costumes, Lighting).

Since the Broadway version has closed, any company that can pay the royalties is allowed to stage Crazy for You. Licenses have gone as far as Capetown, Helsinki, Oslo, Budapest, Australia, Mexico City, London and Indianapolis.

Clearly, Crazy for You is a golden national treasure that will never be panned!

Songlist

Synopsis

We’re backstage at the Zangler Theatre in New York City in the 1930s during a performance of the “Zangler Follies.” Impresario Bela Zangler is in love with Tess, his Dance Director; but since Zangler is married, Tess rejects his advances. Also backstage is Bobby Child, heir to a wealthy banking family, who yearns to be in show business. Bobby talks Zangler into letting him audition on the spot (K-RA-ZY FOR YOU), but the audition is not a success.

Outside the theatre, Bobby is accosted by Irene his wealthy fiancee whom he doesn’t want to marry, then by his mother, who insists that he go to Deadrock, Nevada to foreclose on a property as the women argue and harangue Bobby, he escapes by conjuring up the Follies Girls (I CAN’T BE BOTHERED NOW). When Bobby returns to the reality, he chooses Deadrock over Irene and hurries off to Grand Central Station.

Three days later we’re in Deadrock, a has-been mining town (BIDIN’ MY TIME). The only woman in town is Polly Baker, the feisty postmistress, Her father Everett, owns the Gaiety Theatre, a grand old Victorian structure that has gone to seed. A letter arrives from New York stating that a banker named Bobby Child has been sent to foreclose on the theatre if Everett fails to meet his mortgage payments. Polly vows that if she ever meets this “Bobby Child” she’ll do “something ugly!” Moments later Bobby staggers into town sees Polly and falls instantly in love with her (THINGS ARE LOOKING UP). Polly, beneath her brash exterior, yearns privately for a man she can love (SOMEONE TO WATCH OVER ME).

The town’s saloon is owned by Lank Hawkins, a "man of vision", who wants to marry Polly and buy Everett’s theatre. Inside the saloon, Polly meets Bobby for the first time, and Bobby declares his love for her (COULD YOU USE ME?). Polly is unimpressed with his Eastern ways, but Bobby urges her to “have her fling” and teachers her to dance. AS they swirl through the desert, Polly falls deeply in love with Bobby (SHALL WE DANCE?).

That night on the stage of the Gaiety Theatre, Bobby gets and idea: They can save the theatre by putting on a show! After Polly is persuaded to join in the plan, Bobby introduces himself: “I’m Bobby Child.” The name skins in and Polly slaps him across the face. “He’s from that bank! This is a trick!” Heartbroken, Polly flees in tears, never wanting to see him again. Bobby too, is heartbroken, when suddenly spying a trunk of costumes, he gets another idea “Bela Zangler!”

Three days later, ten glamorous Follie Girls (Bobby’s old friends) arrive in Deadrock to the amazement of the menfolk (ENTRANCE TO NEVADA). Along with the girls is Bobby masquerading as Zangler, complete with beard, cane and Hungarian accent. He’s been sent, he says by Bobby Child. Polly and Everett readily agree to let the great impresario put on a show to save the theatre. Everyone rushes off to the first rehearsal. Two weeks later, preparations for the show are in full swing. Although the menfolk are still disastrous performers, “Zangler” (i.e. Bobby) changes all that in the course of a single rehearsal (SLAP THAT BASS).

Irene now shows up, looking for Bobby. She recognizes him and threatens to expose him to Polly if he doesn’t promise to return with her to New York. When Irene leaves, “Zangler” tries to persuade Polly to give Bobby a chance; but Polly confesses that she’s madly in love with him - “Zangler.” Bobby is horrified. This is not what he was planning (EMBRACEABLE YOU).

The following evening, the cast is busily preparing for the show (TONIGHT’S THE NIGHT). Lank is desperate to stop the show, and Irene is desperate to find Bobby, who’s been hiding from her all day. When people are spotted coming from the station, the cast assembles excitedly on the street. Alas, the only arrivals are an English couple (the Fodors), who are writing a guidebook to the American West. They’ve come to review Lank’s saloon. Lank, triumphant, leads the Fodors gleefully into his establishment.

The company has now hit rock bottom, and "Zangler" is the most desolate of all. He apologizes for failing the town, but as he starts to leave, Polly speaks up. So what if they didn’t sell any tickets? Since “Zangler” came along, something magical happened. The whole town has been working together, caring for each other, and “feeling alive!” (I GOT RHYTHM). As despair turns to celebration, the real Zangler staggers into town and collapses on the street. In their frenzy of joy, no one sees him.

ACT TWO

The night in the saloon, the town is still celebrating (THE REAL AMERICAN FOLK SONG IS A RAG). Bobby, his time running out, asks Polly to marry him. When she’s in love with “Zangler”, he explains that he is “Zangler”, the man she fell in love with. She doesn’t believe him - and as he tries to convince her, the real Zangler staggers in. As Polly kisses Zangler with passion, Bobby grabs a bottle of liquor and exits. When Polly leaves, Zangler explains to Tess that his wife left him and that he came to Deadrock to be with Tess. Suddenly she gets an idea: he, Zangler, could save the theatre! As an experienced producer, he’d know how to advertise. When Zangler refuses, Tess walks off. Zangler is now drunk; and a moment later, Bobby reels out of his room, also drunk, dressed as “Zangler” to prove to Polly that he wasn’t lying. The two Zanglers bewail the loss of their women (WHAT CAUSES THAT?).

The next morning, Polly sees two Zanglers out cold under the table and realizes that Bobby was telling her the truth. But instead of loving him for it, as Bobby expects, she’s totally humiliated and storms angrily out of the saloon. By now, Lank is a complete wreck from catering to the Fodors. When Irene taunts him, he goes into a rage, and Irene realizes that she and Lank - soulmates in frustration - are made for each other. She wastes no time in seducing him (NAUGHTY BABY).

A few minutes later in the refurbished theatre, the cast is having a meeting. With two weeks left on the mortgage, the issue is whether to try putting on the show again or to let the bank foreclose. As everyone bickers, the Fodors step forward and offer their own, very British philosophy (STIFF UPPER LIP). By the end of the number, Polly is no longer angry with Bobby.

The issue is put to vote, and to Bobby and Polly’s amazement, the decision of the company is to give up. They tried the show once and it didn’t work. Why should it work a second time?

The company straggles off - and Bobby says good-bye to Polly. He’s going back to New York. Polly is shocked, but when Bobby hints that he’d stay for her sake, she’s too proud to admit that she loves him. After thanking her for so many fond memories (THEY CAN’T TAKE THAT AWAY FROM ME), Bobby leaves; Polly mourns the loss of her one true love (BUT NOT FOR ME).

Suddenly, Zangler sweeps into the theatre. Having seen the company perform “Stiff Upper Lip,” he’s decided to revive the show and writes check after check to pay for the new effort. Zangler then confesses to Tess that although the “cowboys” are good dancers, he’s really doing it all for her. He truly loves her. Tess, for once, is speechless.

Six weeks later, in New York, Bobby is trying to be a banker (NEW YORK INTERLUDE), but all he can think about is Polly and Deadrock. Mother, however, has a present for him. She’s foreclosed on the Zangler Theatre, and she gives him the deed. At first, Bobby is delighted; but when he learns that Zangler lost the property by “wasting all his money on that theatre in Nevada” - all for Tess’s sake - he’s suddenly bereft. The Follies Girls now appear in his mind and remind him that fame and money are transitory; only love matters (NICE WORK IF YOU CAN GET IT). His fighting spirit renewed, Bobby tears up the dead to the Zangler Theatre and heads for Deadrock.

Back in Deadrock, the town sparkles. The saloon is now a spiffy cafe run by Lank and Irene who are happily married (BIDIN’ MY TIME (French Reprise)). And the theatre has been playing to full houses and has paid off its mortgage. However, a crisis is in progress. Polly, now the star of the show, has realized how desperately she misses Bobby, and she’s leaving for New York to find him. After she leaves, Bobby runs in and learns that the show he prepared has saved the theatre. He realizes that at last he’s accomplished something. As this sinks in, Everett and Mother see each other and fall in love. But it’s only when Polly unexpectedly reappears that all is resolved. As the town looks on, Polly and Bobby run into each other’s arms - and start to dance (FINALE).

XX

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