Even without the background of the Award-winning Apple TV musical series under my belt, Schmigadoon! somehow surpassed my wildest expectations for meta comedy. The concept is a simple one indeed, but has a killer hook: a romantic couple somewhat on the rocks get lost in the woods, emerging in a magical land over a bridge where everyone sings… everything. Yes, Josh (Alex Brightman) and Melissa (Sara Chase) have been sucked into an actual musical. From top to bottom, Schmigadoon! is a magical delight, parodying the best in golden era musical theatre while painting its own raunchy, distinct identity. This is the sort of laugh-till-you-cry delight that does not get enough credit on the Broadway stage. Hysterically funny, wonderfully acted, and tightly scripted, Schmigadoon! will leave audiences begging for seconds of its colorful musical extravaganza… and corn puddin’!
Thankfully bucking the trend of minimalistic staging that seems to be making waves lately, Schmigadoon! opts for bright and colorful, especially once Josh and Melissa arrive in the titular town. It all begins with a magical vending machine, a meet-cute for two doctors that morphs into a surprising centerpiece. In the first minutes, we fast forward through several years of a relationship, with mostly high highs. Their polar opposites attract, as is the lovable standard (and often the sugary-sweet reality). Josh despises musicals, Melissa adores them. Naturally, years later, the duo get lost when making their way to a couples retreat. As they wander through trees while a loud storm rages, my mind raced back to the massive tree, Stella, of Idina Menzel’s Redwood, which also played in this very same theatre only a year ago. No doubt this will last longer than that ill-fated sidequest.
By the time the two stumble over a bridge and into the sunny positivity of the town of Schmigadoon, it was clear we were in for a musical-theatre treat. The denizens enthusiastically perform the title song of the same name, in garishly dated outfits that are as extra as everything else. Fun choreography highlights each swishy dress and outdated dance move. Where are they, and why is everyone singing? Even the town’s mayor comes to greet Josh and Melissa. They decide to stay the night at (where else?) the Schmigadoon Inn, and vow to leave the next morning. In separate rooms, of course. Melissa wanders off while Josh sleeps, meeting the rapscallion, Danny (Max Clayton), a muscled cutie who beckons her to ride his “Tunnel of Love.” The duo interact in a carnival setting by way of an elaborate number that leans into Clayton’s dance moves and striking physicality.
The next morning, shortly after too-flirty young Betsy (McKenzie Kurtz) of an unknown age catches Josh’s attention, the couple realize to their horror that they are semi-permanently stuck in Schmigadoon. How can they escape this musical hell? Cue: “The Leprechaun Song,” the first of many throwaway, utterly brilliant gags. A wee leprechaun galavants out past the town sign to inform them about the rules: only true love with get them past the town’s limits. With a general endgame established, the question emerges that becomes the thesis of this Broadway show: do Josh and Melissa have true love?
Playing into parody and brilliant satire of musicals including The Sound of Music, Carousel, The Music Man, and many more, Josh and Melissa abruptly break up, and embark on their solo journeys of love. This is when the true texture of the town emerges, driven on the strength of the entire ensemble. At first, little Carson (Ayaan Diop) only enters to deliver a line of exclamation, but he’s a charming and altogether adorable vital presence. Kurtz’s Betsy is an over-sexualized hilarious caricature, complete with a gun-toting father—she gets to perform the show’s funniest song, “Not That Kinda Gal.” Kurtz is a clear standout. Mayor Menlove (Brad Oscar), has an arc about his sexual identity that had the whole theatre roaring in applause. Danny and his Newsies-hat always get big laughs (and ample swoons), especially in the visual gag department. In act II though, Gasteyer steals the show as Mildred, the overly pessimistic curmudgeon who views any changes in town as especially problematic.
As for Josh and Melissa, both Brightman and Chase get plenty to do. Chase has more musical moments, while Brightman plays it mostly straight as he constantly refuses to participate in musical numbers. An interesting dynamic to their relationship keeps it always feeling fresh. While I have enjoyed Brightman before in both Beetlejuice and The Shark is Broken, Josh is far more of an uptight character than the other two. Chase belts and impresses, unafraid to let her freak flag fly as Melissa. The duo shared balanced chemistry, interacting with strange townfolk, and potentially drastically changing this world at large along with it. Their commentary on antiquated ideas are more than just a reflection of the times, but also act as an audience surrogate.
The songs are terrific, and it probably helps having such a strong template to build from. Show creator Cino Paul returns to the Schmiga-fold, responsible for the book and lyrics. There’s just no way around it: Paul’s work paints an obscenely fun romp that I never wanted to end. As the characters fall into one mistake after the next, they are forced to confront the tropes of this era of musicals to power them through. A lot can be said of parody, with the true enjoyment resting in the eye of the beholder. Charged with sexual innuendo and genuinely clever scripting, Schmigadoon! is one of the best musical comedies in ages. If life’s a musical every day, there’s no better place to spend it.
Embrace the ridiculous world of Schmigadoon, now playing performances at Broadway’s Nederlander Theatre. For ticketing information, please head over to the official website.
