Theater Online - New York Theater Reviews

Sorry, Mr. Christopher Durang, I just didn't get it—well, about 90% of it: the humor, no doubt, intended by the book and lyrics you wrote for "Adrift in Macao." I have admired your often biting, sometimes bizarre, ineffably witty, repeatedly brilliant—not to mention prize winning, writing for a long time (ever since seeing "Sister Mary Ignatius Explains It All for You" way back in 1979). I know that you have described "Adrift," a 90 minute musical "film noir parody" (Maltese-like black bird, a nightclub in an exotic place--owner included, a couple of sexy singing dames, . . . I got that part) as one of your "entertainments," sans satiric intent and dark comedy. And it does have many wonderful production elements. But the show just didn't tickle my funny bone.

Hey, don't get me wrong. I'm not presumptuous enough to believe I'm expressing the mind-set of the entire audience at that afternoon's performance. Many people present were smiling, laughing and apparently having a jolly old time. Every so often I wondered why they were getting a kick out of what to me were "comic clinkers," but I did not become distracted enough not to appreciate much of composer Peter Melnick's genre-eclectic and sometimes engaging tunes played by five very able musicians, who happened to be neatly tucked up near the ceiling on the right side of the stage (Upper-up downstage left . . . Sorry!)

I really did like the way you set up the "madcap" story – faithful to the title—occupying it with recognizable caricatures, played exceedingly well (despite much trite dialogue and gruesomely unfunny asides) found in the 1940's and 50's movies you are lampooning. And I did admire the major players' acting and musical talents, in addition to their much needed thespian fortitude in portraying Rick Shaw (Will Swenson)suave owner of Macao's Surf and Turf Nightclub and Casino; Lureena (Rachel De Benedet) a nightclub singer "in a slinky dress" who replaces a likeable opium-loving Corinna (Michele Ragusa) as the top banana at the exotic bar; Mitch (Alan Campbell) a hard nosed detective-type in pursuit of the person who framed him for murder; and Rick's almost ubiquitous employee Tempura (Orville Mendoza) seemingly Asian, certainly wise-cracking and arguably the character who gets the most or least laughs.

Come to think of it, I definitely wanted to like the play. In fact, I mused about reviewing "a winner" as I watched the evocative yet classy costuming by Willa Kim, and the magically-nostalgic set transformations by Thomas Lynch. I also enjoyed Christopher Gattelli's inventive and mellifluous choreography, which at times provided me with hope that things would soon venture into a realm of logic and humor I could enjoy. Don't get me wrong. I did laugh a few times and near the end was definitely drawn in by the attention-grabbing rendition of the song "Ticky Ticky Tock." Yet, I was ultimately glad when I no longer felt the urge to look at my watch.

As I was leaving the theater, I encountered a lyricist-friend of mine who had been at the same performance. He looked at me, shook his head, exhaled and said, "That was tough." Apparently, he didn't get it either.