PROVO — Is BYU’s musical theatre always this good? Last year’s Godspell was my favorite non-equity performance I have ever seen, now here comes an ebullient Crazy For You that also feels like a must-see for any musical lover.
The wonder of this production begins immediately with a phenomenal set by scenic designer Milinda Weeks, filled with attractive, geometric platforms, marquee bulbs, steps galore, and a radiant projected background of the show logo and shooting stars. An overhead projection also casts a rays of light on the stage, and a demure orange red rock set piece behind multiple proscenium arches hints to the Old West main location of the production.
The production kicks off with old timey, silent film era projected credits before a phalanx of Prohibition-era showgirls known as Ziegler’s Follies take the stage. With black tutus and spaghetti strapped, gold-embossed tops tied in the back with black bows—the Follies’ New York costumes were just the first of multiple wins for costume design Candice Nielsen (more on them later).
Crazy for You is a vehicle for the music and lyrics of the great American composers George Gershwin and Ira Gershwin. First staged on Broadway in 1992 with a book by Ken Ludwig, its stock plot involves a big city banker traveling to the small town of Deadwood, Nevada, only to fall in love with the local postmistress, and help save the town theater, too.
The man in question is Billy, played by an effervescent and appropriately moony Logan Neville. Billy’s irrepressible optimism is a key component in the show, and Neville is excellent at inhibiting the character. Billy actually spends most of the show in disguise impersonating a German accent—a bit of a shame because his native personality is so enjoyable.
BYU’s production is packed with incredibly choreographed and performed numbers, featuring large groups of impressively on-pitch cowboys. The entire cast is terrific, especially the Follies, who, despite portraying caricatures, display tight acting, impressive facial expressions, and choreography that felt expressive at every beat.
Understudy Dylann Riggs soared as hometown postmistress Polly—”What a voice!” I wrote in my notes, “so clear, melodic,” as if she is massaging the upper parts of the lines. Riggs’ entertaining and unique delivery primarily used head voice to find unique phrasing—but could belt when needed. Every line was carefully thought out and expressed in a fresh way that portrayed the inner thoughts of the character. Along with Neville, it was a great performance.
Crazy for you Plays through December 7 at the BYU West Campus. | Photo Credit: BYU Photo
The production buzzed with energy from beginning to end—as an audience member, I could practically feel the joy of the cast as they performed. While the Follies are all basically interchangeable and kind of run together, if memory serves, Elaine (played by Ella Bleu Bradford) was often a featured dancer, and she certainly earned her place front and center, with a confidence that practically attacked the choreography in the best of ways.
Given the show’s abundant dance numbers, each cast member must have hit countless marks, and it amazed me that anyone could be capable of learning so much dancing. Spacing and movement by director Stephanie Breinhold and choreographer Melanie Cartwright were outstanding in their ability to space a large cast in a relatively small space—and actors displayed exceptional spatial awareness to avoid bunching or bumping into each other.
Among the supporting cast, Zech Combs stood out as Polly’s over-the-hill father Everett Baker. Combs’ impeccable comedic delivery milked the humor out of every line, most of which featured him pining for his dearly departed wife. The last time I saw Crazy for You, I didn’t even notice the character, but Combs turned him into a crowd favorite.
I’ve never seen projected backgrounds of such high quality as this production. I sometimes wondered if they were real. The theater poster background for the theater scenes was especially photo-real, and the mounted jackalope in the background of the salon was a nice touch.
Nielsen’s costumes shined from beginning to end, but never shined brighter than the delightful, colorful rompers that the Follies wore during dress rehearsals; a joyful costume choice. Vocal performances were strong across the board (music direction was by Sadie Holdaway), and the chorus had impressive pitch and blend.
Crazy For You exists as a showcase for the Great American Songbook. In that vein, BYU’s production has to be experienced to be believed. With sensational leads, dynamite choreography and a killer chorus, this is a ticket any lover of musical theater won’t want to pass up. You’d have to be a “naughty baby” indeed to not buy a ticket immediately.
Editor’s Note: B.F. Isaacson is a BYU Employee in another college within the university.
