Theater Review: Bye Bye Birdie

Efforts to Revive Classic Go Bye, Bye
By Lauren Yarger
Bye Bye Birdie might have been written about young love and teenage worship of a rock-and-roll idol, but Roundabout Theatre Company’s Broadway revival of the Charles Strouse-Lee Adams musical is redeemed, if not entirely successfully, by the parents.

Giving the production its best moments are Bill Irwin, as an uptight, Ed-Sullivan-revering father with repressed dreams of being a star and Jayne Houdyshell as an overbearing, guilt-trip-laying mother who tries to squelch the romantic pursuits of her son.

The production, which boasts familiar tunes like “Put on a Happy Face,” “One Boy,” “Kids,” and even “Bye Bye Birdie,” which wasn’t part of the original score, but which was an add-on song for the 1963 movie starring Dick Van Dyke (reprising his stage role as Albert Peterson), is mediocre at best.

In this revival, woefully underdirected by Robert Longbottom, John Stamos (of TV’s “General Hospital” and “Full House” fame) takes on the role of Peterson, manager of a teen rock idol named Conrad Birdie (Noland Gerard Funk), who, à la Elvis Presley, has been drafted into military service. Stamos is likable -- after all, who doesn’t like Uncle Jessie (his persona on "Full House") – but he’s no Dick Van Dyke and his attempts at clowning are forced.

Before Birdie leaves for training, Peterson and his assistant Rose Alvarez (a horrifically miscast Gina Gershon) cook up a publicity stunt: one last kiss with Kim MacAfee (Allie Trimm), the president of Birdie’s fan club in Sweet Apple, Ohio.

Albert promises the matrimony-seeking Rose that after the stunt, he’ll quit the business, pursue his dream of being an English teacher and stand up to his intruding and manipulating mother, Mae (Houdyshell), who doesn’t approve of Rose because she’s “Spanish” and older than Albert. Gershon, first, does not seem to be Latina, though the character apparently is supposed to be according to other dialogue in the book by Michael Stewart. Second, thanks to wig and makeup (David Brian Brown; Angellina Avallone, designers), she looks much older than Stamos, so Mae’s age-related comments, though well delivered by the talented Houdyshell, fall flat and sound mean rather than facetious.

Kim’s parents (played by Irwin and Dee Hoty) and her new steady boyfriend Hugo Peabody (Matt Doyle) aren’t excited about the planned kiss, but Dad comes around when he learns that the whole family will join Birdie on “The Ed Sullivan Show.” Indeed, the MacAfees’ costumed portrayal of historical families seeing their loved ones off to various wars throughout the ages while Birdie croons are some of the show’s funniest, thanks to some slapstick from Irwin as MacAfee embarrasses himself while trying to upstage his daughter.

The humor turns to unease, however, as Irwin goes too far, almost making it look like the father is suffering from some sort of mental illness. It’s a case of a talented actor trying too hard to save a flat-lining show. He just keeps pounding on the chest long after the heart has beat its last.

Will Kim and Hugo get back together? Will Albert and Rose overcome Mae’s opposition and find happiness? Is there really any mystery about the answers to these questions?

The dated and weak story plays out against psychedelic-colored backdrops (Andrew Jackness, set designer), with sliding panels in sickly pastels and shapes with video projections (Howard Werner) and are more reminiscent of the 1960s than the ‘50s in which the piece is set. The costumes (Gregg Barnes, design) pick up the color theme and even group families in their own hue groups. Longbottom, who also choreographs, moves the cast around a bit, but fails to ignite any action, especially since the tempo for most of the songs (David Holcenberg, music director) is slower than we’re used to hearing them played.

Trimm and Doyle have some nice moments and are in good voice (I had enjoyed Trimm’s performance in the musical 13 which was a much more interesting teen-focused musical). Brynn Williams, who plays Kim’s friend, Ursula, has a bubbly presence and nice singing voice too. In fact, Ursula appears as the product of an interracial couple during the number where the families appear color coded, which struck me as unlikely normal for 1958 Sweet Apple Ohio. The thought that this might be the product of Longbottom trying to update the piece with 2009 sensibilities disappeared, however, when Willliams proved to be the only African-American in the otherwise squeaky white cast (and I didn’t spot the actor who plays the African-American dad in the cast photos, so go figure. Maybe the nauseating color scheme played havoc with my eyes and they weren’t an interracial couple after all).

The other vocals, across the board, are adequate to weak, with songs being transposed for Gershon’s lower range. Funk is no Elvis impersonator and seems rather bored. So Birdie joins a growing list of Broadways revivals that just don’t have what it takes to recapture the magic that propelled them from the Great White Way to high school auditoriums around the nation.

Birdie runs through April 25 at the newly renovated Henry Miller Theater, 124 West 43rd St., NYC. For tickets, call (212) 239-6200. For discounted group tickets that benefit Masterwork Productions, click here.

Christians might also like to know:
• Scantily clad actors
• The Shriner’s Ballet, often portrayed as a rather racy number, is omitted in this production.