Finian's Rainbow

With amazing speed after the critically acclaimed concert at the New York City Center, FINIAN’S RAINBOW was scheduled for Broadway and now it is up and running less than a year later. This is a simply staged, old fashioned musical comedy. The simplicity only adds to the beauty of the production, for it is pure, without any unnecessary adornments. The musical theatre has never really needed more than a beautiful score sung well, with a smart design concept that adds to the beauty, but works to efficiently tell the story. All this is true of FINIAN’S RAINBOW. And as old fashioned as it is, somehow the show remains completely contemporary. Political jokes, issues about consumerism and the credit crises, race relations––all of it registers as right now. Along side what seems contemporary are lyrics like, “If this isn’t love, I’m Carmen Miranda. If this isn’t love, it’s red propaganda.” Also, the plot is looney, considering it is about an Irish man who crosses the ocean to bury a leprechaun's pot of gold in American soil in the hopes of doubling his wealth. The leprechaun, Og, has followed Finian to retrieve his gold and out of his element, he is turning more and more mortal every day. There is an obvious romantic plot between Woody, the local hero and Sharon, Finian’s daughter. There is an unlikely second romance between the leprechaun and Woody’s sister, who only speaks through dance. There is a racist Southern Senator who is threatening the harmony of the integrated community of Rainbow Valley. Each of these plot lines weave together and somehow tie up in an idealistic way––which is how we wish the world could be.

Of course, what really makes the whole thing work is a score that contains one wonderful standard after the next: “How are Things in Glocca Morra”, “Look to the Rainbow”, “Old Devil Moon” and on and on. The show contains innovative ideas, such as Susan the Silent dancing to a harmonica solo played by a character who speaks through his harmonica as Susan speaks through her feet. There is the opportunity to show off the great skills of the musical theatre performer, where song, dance and story all work together––it is entertaining, while revealing the beauty of humanity.

Leading the proceedings is the perfect Jim Norton as Finian, who skips and runs and bounces about the stage spreading his joyous brand of insanity. Kate Baldwin is the find of the year as Sharon. She couldn’t be more prefect, for every ounce of her being is one with the character and her voice is glorious. Cheyenne Jackson breathes life into the wooden Woody, but the character is saved mostly by the fact that the authors gave him wonderful music to sing. Still, Jackson and Baldwin make a sexy couple, infusing the candy confection with a little heated passion. Christopher Fitzgerald was born to play Og and is utterly believable in the shoes of a character that is equal parts audacious ham and sentimental heart. As silly as it is, few moments on the stage are as true and heartfelt as when Og wishes over his pot of gold that Susan should be able to speak––and she does.

Down in the pit, Rob Berman conducts the full original orchestration, perhaps the biggest star of the show. Many small characters emerge to give the production color and texture, such as Terri White belting out “Necessity,” Chuck Cooper’s bewildered Senator Rawkins, Alina Faye’s dancing and the harmonica of Guy Davis. Simple beauty all the way around.