Next to the jukebox musical, the Broadway genre getting and usually deserving the least amount of respect is that woebegon Frankenstein that starts life on the big screen only to have its parts jum…
genre getting and usually deserving the least amount of respect is that woebegon Frankenstein that starts life on the big screen only to have its parts jumbled and reassembled for the stage. The failure-to-success ratio of such attempts should keep any sane stage director as far from a movie house as humanly possible.
Forced to go into their own self-devised witness protection program, Jerry and Joe don dresses and join an all-female jazz band under the stern but loving conductorship of Sweet Sue . They hop the tour train to California and escape the Chicago mob. Joe becomes Josephine and Jerry, whom the domineering Joe decides will be Geraldine, instead chooses…Daphne, a name and a big, happy hint at what’s to come for this kind-hearted, lost man trying to find his truth.
No more spoilers from here on in, except to note that there will be no other big divergences from the movie, unless you want to count a stupendous final-act resolution that needs no deus ex machina when tap shoes, quick-changes and all the slammed doors a farce could ever want. Whether performing the songs in ensemble or solo – each of the principal performers gets at least one moment in the spotlight, and none disappoint, especially the powerhouse Hicks.
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