Polly Baker - Jodi Benson; Bobby Child - Harry Groener; Bela Zangler - Bruce Adler; Lank Hawkins - John Hillner; Irene Roth - Michele Pawk; Pete - Fred Anderson; Wyatt - Jeffrey Lee Broadhurst; Perkins - Gerry Burkhardt; Custus - Gerry Burkhardt; Everett Baker - Ronn Carroll; Mother - Jane Connell; Elaine - Pamela Everett; Harry - Joel Goodness; Susie - Ida Henry; Jimmy - Michael Kubala; Tess - Beth Leavel; Mitzi - Paula Leggett; Patsy - Stacey Logan; Betsy - Penny Ayn Maas; Louise - Jean Marie; Margie - Salomé Mazard; Junior - Casey Nicholaw; Sheila - Judine Hawkins Richárd; Billy - Ray Roderick; Vera - Louise Ruck; Eugene - Stephen Temperley; Patricia - Amelia White; The Manhattan Rhythm Kings: Tripp Hanson (Mingo), Brian M. Nalepka (Moose), Hal Shane (Sam); Ensemble - Fred Anderson, Jeffrey Lee Broadhurst, Gerry Burkhardt, Pamela Everett, Joel Goodness, Tripp Hanson, Ida Henry, Michael Kubala, Paula Leggett, Stacey Logan, Penny Ayn Maas, Brian M. Nalepka, Casey Nicholaw, Judine Hawkins Richárd, Ray Roderick, Louise Ruck, Hal Shane; Swings: Ken Lundie, Chris Peterson, Maryellen Scilla.

Synopsis & Musical Numbers

We're backstage at the Zangler Theater in New York City in the 1930s during a performance of the Zangler Follies. Impresario Bela Zangler is in love with Tess, his dance director, but since Zangler is married, Tess rejects his advances. Also backstage is Bobby Child, heir to a wealthy banking family, who yearns to be in show business. Bobby talks Zangler into letting him audition on the spot (K-RA-ZY FOR YOU), but the audition is not a success. Outside the theater, Bobby is accosted by Irene, his wealthy fiancé, whom he doesn't want to marry, then by his mother who insists that he go to Deadrock, Nevada to foreclose on a property. As the women argue and harangue Bobby, he escapes by conjuring up the Follies Girls (I CAN'T BE BOTHERED NOW). When Bobby returns to reality, he chooses Deadrock over Irene and hurries off to Grand Central Station.

Three days later we're in Deadrock, a has-been mining town (BIDIN' MY TIME). The only woman in town is Polly Baker, the feisty postmistress. Her father, Everett, owns the Gaiety Theater, a grand old Victorian structure that has gone to seed. A letter arrives from New York stating that a banker named Bobby Child has been sent to foreclose on the theater if Everett fails to meet his mortgage payments. Polly vows that if she ever meets this "Bobby Child" she'll do "something ugly!" Moments later, Bobby staggers into town, sees Polly and falls instantly in love with her (THINGS ARE LOOKING UP). Polly, beneath her brash exterior, yearns privately for a man she can love (SOMEONE TO WATCH OVER ME). The town's saloon is owned by Lank Hawkins, a "man of vision", who wants to marry Polly and buy Everett's theater. Inside the saloon, Polly meets Bobby for the first time, and Bobby declares his love for her (COULD YOU USE ME?). Polly is unimpressed with his Eastern ways, but Bobby urges her to "have her fling" and teaches her to dance. As they swirl through the desert, Polly falls deeply in love with Bobby (SHALL WE DANCE?). That night, on the stage of the Gaiety Theater, Bobby gets an idea: they can save the theater by putting on a show! After Polly is persuaded to join in the plan, Bobby introduces himself. The name sinks in and Polly slaps him across the face. He's from the bank! It must be a trick! Heartbroken, Polly flees in tears, never wanting to see him again. Bobby, too, heartbroken when suddenly, spying a trunk of costumes, he gets another idea: "Bela Zangler!"

Three days later, ten glamorous Follies Girls (Bobby's old friends) arrive in Deadrock to the amazement of the menfolk (ENTRANCE TO NEVADA). Along with the girls is Bobby masquerading as Zangler, complete with beard, cane and Hungarian accent. He's been sent, he says, by Bobby Child. Polly and Everett readily agree to let the great impresario put on a show to save the theater. Everyone rushes off to the first rehearsal. Two weeks later, preparations for the show are in full swing. Although the menfolk are still disastrous performers, "Zangler" (i.e. Bobby) changes all that in the course of a single rehearsal (SLAP THAT BASS). Irene now shows up, looking for Bobby. She recognizes him and threatens to expose him to Polly if he doesn't promise to return with her to New York. When Irene leaves, "Zangler" tries to persuade Polly to give Bobby a chance; but Polly confesses that she's madly in love with him - "Zangler" (EMBRACEABLE YOU). Bobby is horrified. This is not what he was planning.

The following evening, the cast is busily preparing for the show (TONIGHT'S THE NIGHT). Lank is desperate to stop the show, and Irene is desperate to find Bobby, who's been hiding from her all day. When people are spotted coming from the station, the cast assembles excitedly on the street. Alas, the only arrivals are an English couple (the Fodors), who are writing a guidebook to the American West. They've come to review Lank's saloon. Lank, triumphant, leads them gleefully into his establishment. The company has now hit rock bottom, and "Zangler" is the most desolate of all. He apologizes for failing the town, but as he starts to leave, Polly speaks up. So what if they didn't sell any tickets? Since Zangler came along, something magical happened. The whole town has been working together, caring for each other and feeling alive (I GOT RHYTHM). As despair turns to celebration, the real Zangler staggers into town and collapses on the street. In their frenzy of joy, no one sees him.

That night in the saloon, the town is still celebrating (THE REAL AMERICAN FOLK SONG (IS A RAG)). Bobby, his time running out, asks Polly to marry him. When she turns him down, confessing that she's in love with "Zangler", he explains that he is "Zangler", the man she fell in love with. She doesn't believe him - and as he tries to convince him the real Zangler staggers in. As Polly kisses Zangler with passion, Bobby grabs a bottle of liquor and exits. When Polly leaves, Zangler explains to Tess that his wife left him and that he came to Deadrock to be with Tess. Suddenly she gets an idea: he is Zangler, and could save the theater! As an experienced producer, he'd know how to advertise. When Zangler refuses, Tess walks off. Zangler is now drunk; and a moment later, Bobby reels out of his room, also drunk dressed as "Zangler" to prove to Polly that he wasn't lying. The two Zanglers bewail the loss of their women (WHAT CAUSES THAT?).

The next morning, Polly sees the two Zanglers out cold under the table and realizes that Bobby was telling the truth. But instead of loving him for it, as Bobby expects, she's totally humiliated and storms angrily out of the saloon. By now, Lank is a complete wreck from catering to Andre and Patricia. When Irene taunts him, he goes into a rage, and Irene realizes she and Lank - soulmates in frustration - are made for each other. She wastes no time in seducing him (NAUGHTY BABY).

A few minutes later in the refurbished theater, the cast is having a meeting. With two weeks left on the mortgage, the issue is whether to try putting on the show again or to let the bank foreclose. As everyone bickers, the Fodors step forward and offer their own, very British philosophy (STIFF UPPER LIP). By the end of the number, Polly is no longer angry with Bobby. The issue is put to a vote, and to Bobby and Polly's amazement, the decision of the company is to give up. They tried the show once and it didn't work. Why should it work a second time? The company straggles off - Bobby says goodbye to Polly. He's going back to New York. Polly is shocked, but when Bobby hints that he'd stay for her sake, Polly is to proud to admit that she loves him. After thanking her for fond memories (THEY CAN'T TAKE THAT AWAY FROM ME), Bobby leaves. Polly mourns the loss of her one true love (BUT NOT FOR ME). Suddenly, Zangler sweeps into the theater. Having seen the company perform "Stiff Upper Lip", he's decided to revive the show and writes check after check to pay for the new effort. Zangler then confesses to Tess that although the "cowboys" are good dancers, he's really doing it all for her. He truly loves her, Tess, for once is speechless.

Six weeks later, in New York, Bobby is trying to be a banker (NEW YORK INTERLUDE), but all he can think about is Polly and Deadrock. Mother, however, has a present for him. She's foreclosed on the Zangler Theater, and she gives him the deed. At first, Bobby is delighted but when he learns that Zangler lost the property by "wasting all his money on that theater in Nevada" - all for Tess's sake - he's suddenly bereft. The Follies Girls now appear in his mind and remind him that fame and money are transitory: only love matters (NICE WORK IF YOU CAN GET IT). His fighting spirit renewed, Bobby tears up the deed to the Zangler Theater and heads for Deadrock.

Back in Deadrock, the town sparkles. The saloon is now a spiffy cafe run by Lank and Irene, who are happily married (BIDIN' MY TIME (FRENCH REPRISE)), and the theater has been playing to full houses and has paid off its mortgage. However a crisis is in progress. Polly, now the star of the show, has realized how desperately she misses Bobby, and she's leaving for New York to find him. After she leaves, Bobby runs in and learns that the show he prepared has saved the theater. He realizes that at least he's accomplished something. As this sinks in, Everett and Mother see each other and fall in love. But, it's only when Polly unexpectedly reappears that all is resolved. As the town looks on, Polly and Bobby run into each other's arms - and start to dance (FINALE).

Background Information

A "new" Gershwin musical comedy, Crazy For You was the quintessential musical - one where everybody sings, everybody dances and where anything on hand is used to make music. The plot was nothing new, having been adapted from the 1930s musical, Girl Crazy, but with an energetic cast, a touch of outrageously funny humor, colorful costumes, great scenery and one of the best musical scores of the century - who could ask for anything more?

George and Ira Gershwin were an incomparable team, responsible for some of the best-known American standards from Tin Pan Alley, stage and screen. Even George's classical compositions, resonating with jazz and African-American influences, can be hummed whistled or sung by us all. The Gershwins and their compositions are part of the collective American consciousness. Crazy For You uses seven great Gershwin songs from Girl Crazy, including "Bidin' My Time", "Embraceable You", "I Got Rhythm", and "But Not for Me". 13 other Gershwin songs are added: from Broadway shows like Treasure Girl, Oh, Kay!, Show Girl and Ladies First, Hollywood films like Shall We Dance and Damsel in Distress, and one addition, "Naughty Baby", which was not written either for the stage or films.

Though the book for Crazy For You needed work, nothing was done to Ira's lyrics, other than a little pronoun gender-bending here and there. Those for Girl Crazy are among his best - in fact, they are poetry of an indelible, universal sort. Just think of 'I'm biding my time, 'cause that's the kinda gal I'm', or 'Embrace me, my sweet embraceable you! Embrace me, you irreplaceable you!' The creators of the show stated: "We wanted audiences to believe that each song was written especially for Crazy for You - that they couldn't possibly have come from anywhere else.... [One night] we overheard a couple talking about the show. The woman asked, 'Are George and Ira Gershwin still alive?' And her husband said, 'They must be. They're still writing musicals.'

Crazy For You was produced in reaction to the conservative backlash that developed because of the extravagant excesses of the 1980s; in a world where change and uncertainty are commonplace, where cultural programs and funding have been cut within school systems and professional theatres, an upbeat, musical to remind us of "the good old days" was extremely welcome. Any similarities to context of the original production of Girl Crazy? Yes! During the Great Depression, the American public craved a different kind of entertainment. This sort of musical comedy alleviated the worries and offered some relief from the seriousness of everyday life. Work on the stage remake began in 1988 with the involvement of multimillionaire Roger Horchow. A lifelong fan of George Gershwin's music, he remembered meeting the famed composer-pianist at his parents' home: 'I don't remember what he played, of course. I just remember loving it!' Mr. Horchow sold his mail order business, he earmarked the profit toward the fulfillment of a dream: a production of his favourite show, Girl Crazy, on Broadway. Licensing rights were granted by the Gershwin estate and Horchow hired the director, writers and designers and booked the Shubert Theatre for the show's opening. Investing more than $5 million of his own money into the $7.5 million project, he adamantly declared to the New York Post that it was his first and last show: 'This is the only one I wanted to do. We hope to do it in other cities, but not any more shows.'

Despite its fine score, Girl Crazy had a storyline completely inappropriate for today's society and audiences. In an interview with Kevin Kelly of the Boston Globe, playwright Ken Ludwig (of Lend Me a Tenor fame) said, 'All those musicals' books of the '20s and '30s were awful, but Girl Crazy seemed to me the awfullest (sic) of all! It was dumb, silly, beyond silly. And full of ethnic humor that wasn't funny at all. I decided I'd have to rewrite from scratch. And I wondered how this would play with the Gershwin estate, principally the three Gershwin nephews. To be honest, they were more than willing to do anything to get the show back onstage, partly, of course, because of continuing copyrights, but also as ongoing testimony to George and Ira.' Given access to the entire Gershwin music catalogue, Ludwig (along with director Mike Ockrent) conceptualized a "new" plot, rearranged the score, deleted some songs and borrowed others, including "K-ra-zy For You", which provided the musical with a new name.

Crazy for You opened at the Shubert Theatre February 19, 1992 to critical acclaim. Frank Rich of the New York Times said, 'The show is bursting with original talent that takes off on its own cocky path, pointedly mocking recent British musicals even as it sassily rethinks the American musical tradition stretching from the Gershwins to (Michael) Bennett.' Other critics were equally ecstatic: 'Bright, recession-proof, stuffed with one-line zingers... We're back in the lost paradise of the American musical, with glitter and girls, legs and voices, melodies of insouciant mastery ... An exuberant evening of amusing sight gags invented by Mr. Ockrent, stunning costumes by William Ivey Long, energetic, clever dances by Susan Stroman and marvelous Gershwin music.' Four years later, the final Broadway curtain dropped. Crazy for You had won 3 Tonys (Musical, Costume Design, Choreography); 2 Drama Desk Awards (Musical, Choreography) and 5 Outer Critics Circle Awards (Broadway Musical, Choreography, Scenic Design, Costumes, Lighting). Since the Broadway version has closed, any company that can pay the royalties is allowed to stage Crazy for You. Licenses have gone as far as Cape Town, Helsinki, Oslo, Budapest, Australia, Mexico City, London and Indianapolis.

Mini Gallery

Purchases

From left to right above: 1. Girl Crazy 1951 Studio Cast CD. 2. Girl Crazy 1951 Film Soundtrack CD. 3. Crazy For You 1992 Original Broadway Cast CD. 4. Crazy For You 1993 Original London Cast CD. 5. To Gershwin, With Love Gershwin Karaoke CD.

From left to right above: 1. Girl Crazy 1943 Film on VHS. 2. Broadway's Lost Treasures DVD Box Set (includes Crazy For You orignal cast performance of "I Can't Be Bothered Now") from the Tony Awards). 3. A Tribute to George Gershwin Concert DVD. 4. A Gershwin Night Concert DVD. 5. Crazy For You Vocal Selections.

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