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Ninety-nine times out of every one hundred, attending a theatre camp proves a life-changing experience for those involved; while other more "normal" kids are happy to spend their summers involved in athletics and "meaningful" adolescent romantic pursuits, those in the self-chosen world of "junior summer stock" live for those two months when they may escape the harsh realities of high school hierarchy and be themselves, lost in a world of pursuing their chosen craft and accepted wholeheartedly by all whether they be gay, from broken homes, or other elements that label them as utter oddballs during the off-season. It was for this reason and this reason alone that your humble reviewer, himself not merely a proud three-season alumnus of theatre camp on Long Island, but an unofficial electee to the head of the Annual Reunion Committee for same, was drawn to see and speculate upon Greenwood at the closing of the 2011 New York Musical Theatre Festival (NYMF).
This delicious two-hour-plus musical extravaganza, focusing upon the delightful adventures of a group of teenagers in the 1980s and their subsequent reunion nearly three decades later, may well be the very best display offered by NYMF in all thirty of this season's presentations. With book, music and lyrics by Tor Hyams and Adam LeBow and direction and choreography by Paul Stancato, the copious surprises supplied by this jubilant evening of entertainment merely began with the news that the legendary Andrea McArdle was taking centerstage as the star therein, and from there the show had absolutely nowhere to soar but up towards the heavens on an unending thrill ride that is certain not to simply crash and burn whenceupon NYMF closes this autumn. In point of fact, whether or not the show is Broadway bound, it should most certainly settle in for a lengthy off-Broadway run at New World Stages or Playwrights Horizons. Or, in a just world and with some luck, some savvy producer might steer it towards a space such as the Actor's Playhouse downtown at 100 7th Avenue South, to give that location a much-needed shot in the cultural arm.
The title of the show specifically refers to a theatrical sleepaway camp in the Catskills, where senior bunkmates Sheila (a stunning blonde with "I am the winner" clearly visible all over her person), Jeff (a natural dancer almost certainly destined for life with same-sex orientation), Jessie (who is on a break from appearing on Broadway as an orphan in Annie), Paul (brilliantly talented but not quite invested in a life on the boards as the others), Daniel (the camp renegade) and Lexy (the camp slut) are, at the play's outset, about to embark on their final year as campers, with all about to turn seventeen. Joining them are Alex (clearly voted at least privately by them all as Most Likely to Be A Star) and the timid Zoe, a sensational entertainer but marked by the vulnerability that comes with a disastrous home life. There's also pudgy-but-adorable misfit Ronald, whose father just happens to be the owner of the camp, but who wants nothing more than to be a part of everything, including the shows. Intertwined with these is adult head counselor/show director Gary, who only wants his Greenwood kids to be the best they can, at any cost. On the flip side, and in flashback sequences that dart back and forth throughout the action, we see each as adult; Sheila has become nothing more than a filthy-rich housewife in a Chicago suburb, stuck frustrated over what might have become of her life, while Jeff is an activist for the purposes of same-sex equality. Jessie is a yoga instructor, Paul is a happily-married father of two, Lexy is a fiercely independent single mom and Daniel is supposedly homeless, missing or dead. And Ronald, perhaps not surprisingly, is now running the camp his father has finally given to his feeble charge. Alex, meanwhile, is living in Southern California after unsuccessfully chasing the dream of being a star, and is faced with the final dead end of accepting a promotion as a Development Manager in the firm for which he works, much to the consternation of best friend Josh. Zoe is thoroughly single and miserable in Manhattan, even while attempting to be goaded into happiness by best friend Stacey, who is about to be married to her longtime lover. After both are convinced to join Facebook, where they are instantly befriended by their former camp castmates, Sheila gets the bright idea to rent the camp for a couple of weeks, fly everybody down and do a revival of the show with which they closed the season twenty-five years earlier. This is regrettably complicated on several fronts, not the least of which are unresolved amorous conflicts between Alex and Zoe as well as Lexy and Daniel (who turns up neither homeless nor dead), and Sheila's own moments of guilt for attempting to make this entire episode into something positive. Whether or not friendship prevails is left to be seen, but suffice to say that Greenwood leaves every audience member with an unbreakable smile by the show's end.
As far as casting, there are two very specific groups to observe here, the first being the younger contigent. It isn't readily known which of our younger cast members are actually of adult age, but in any case, each of them portray the campers with absolute aplomb and wholeheartedly nail it. These include Jenavene Hester as Young Sheila, the delicious Jacob Liberman as Young Jeff, Delius Doherty as Young Paul, Emily Kratter as Young Jessie, and Alexis Kalehoff (who also just happens to be McArdle's daughter, and not only proves that scrumptious talent runs in the family, but that she's wholeheartedly capable of getting incredible work on her own merit) as Young Lexy. Christopher Brent Davis also proves utterly sensational as Young Ronald and Bryan Welnicki borders on phenomenal as Young Daniel. As for award-winning actor Andrew Redlawsk as Young Alex, and the simply-breathtaking triple-threat that is Alicia Morton as Young Zoe, it can only be a matter of time before either or both are blazing across Broadway marquees, as well as other media.
Where the adults are concerned, there's clearly little to possibly say about McArdle; the woman could read (or indeed sing) a public service announcement and grown men would weep. Likewise Gerry McIntyre as Paul, Felicia Finley as Lexy, and most certainly Patrick Boyd as Jeff. Jayden Lund proves a teddy bear one just wants to reach out and hug as Ronald, and Daniel Blinkoff as the grown-up Daniel provides an incredible touch of tenderness to the proceedings more than once. Then, of course, there's Cary Shields as Alex and Mary Mossberg as Zoe; both are so completely in their element in each role that a future for both as Broadway stars with which to be reckoned isn't merely conceivable but unthinkable should it not come to pass. In addition, Zakiya Young proves stupendous as Stacey, and Nick Dalton as Josh comes extremely close to walking off with the show. In smaller roles, Andy Gale turns in a wonderful performance as Gary and Ben Nordstrom does equally so as both Alex's Boss and Sam, an actor Sheila hires to replace an unreachable Daniel for the revival.
If one must single out numbers one by one in the phenomenal score, which is difficult to say the least, first and foremost would certainly be "The Me I've Always Known," sung by Sheila in Act Two, and which clearly has the makings of a theatrical standard besides an audition number or cabaret tune. Alex's Act Two stunner, "Out of the Shadows," is the same. However, when Young Daniel leads the Youth Ensemble of "Wings of Fire," it emerges as a moment unequaled. As does "Keys to the Canteen," a marvelous chance for Young Ronald to break out of the background in Act Two and show his spectacular prowess as a leading man. "It's All Yours" absolutely blazes across the stage as a duet in Act One for Josh and Stacey. And "Do A Musical" in Act Two, replete with each of the grownups in costumes from classic musicals (designed gorgeously by Shana Albery besides all of the other lady's resplendent handiwork) is a prime example of new musical theatre at the absolute top of its game. Likewise, every other bit of the action as contributed by lighting designer Cory Pattak, sound designer Craig Kaufman and scenic designer Jon Collins.
Nothing else can possibly be said about Greenwood except that this writer will very happily greet the copious crowds most certain to show up on opening night when it settles into a more permanent run in higher profile. Which will last. And last. And last some more. Be there, please.
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