Total Insanity

Iceboy!

Wacky! Bizarre! Absurd! Stupid! Those are some of the audience reactions heard on opening night, following the curtain call of ICEBOY! One patron commented that it was like seeing “All About Eve” on ice! I agree with all of these comments…and many more. At this point in time, like practically every show that’s had its eye on a successful Broadway run, ICEBOY! has already gone through countless script rewrites, musical tweaking and cast changes. As the production opens to Chicago audiences eager to see an original hilarious musical and live, comic performances by its two high profile stars, I guarantee you won’t be disappointed. And there’s no denying that the supporting cast for stars Megan Mullally and Nick Offerman is equally as talented. These local actors all share high accolades for their versatile characterizations, comic timing and musicality. But at this stage in its development, ICEBOY! still has a couple problems to address before the show is ready for a New York audience.

ICEBOY! boasts a musical score by Mark Hollmann (Tony Award-winner for URINETOWN, THE MUSICAL), lyrics cowritten by Hollmann and Jay Reiss, and a very funny book by Erin Quinn Purcell and Jay Reiss. With the collective talent of such heavy-hitters working together, the show’s strongest element—at least  at this moment—isn’t the songs. What stands out is the nonstop humor that’s unpredictable, out-of-the-blue and often very adult. The plot is absolutely preposterous and completely zany. Even the musical’s subtitle gives theatergoers a clue: “The Completely Untrue Story of how Eugene O’Neill Came to Write “The Iceman Cometh.” So expect that nothing in this show will be based on reality. Instead, there’s a lot of lunacy and a completely screwball story. Rather than another OKLAHOMA or THE OUTSIDERS, ICEBOY! is more closely related to several off-the-wall, irreverent musicals, like SPAMALOT or TITANIQUE. But there’s something missing at present in ICEBOY! Even so, check your sensible side at the door and give over to a couple hours of total insanity.

Skillfully staged and developed by gifted Broadway director, Marc Bruni (THE GREAT GATSBY, BEAUTIFUL: THE CAROLE KING MUSICAL), with topnotch musical direction by Vadim Feichtner, the show is set near New York City’s Times Square during the late 1930’s. Fan favorite Vera Vimm, powerfully and passionately portrayed by the incomparable Megan Mullally (Karen Walker, on television’s “Will & Grace;”on Broadway, YOUNG FRANKENSTEIN, HOW TO SUCCEED, GREASE) is the toast of the Great White Way. This beloved star of the Broadway stage is engaged to the almost famous playwright, Floyd Richards, nicely played and sung by Cedric Yarbrough (“Remo 911,” “The Goldbergs,” “Curb Your Enthusiasm” on TV). Richards writes theatrical vehicles in which Vera can star and dazzle the audience and critics alike. However, “Garment Girl,” Mr. Richard’s latest musical, has miscast Miss Vimm in the role of a 19-year-old immigrant sweatshop worker, and the public and press simply aren’t buying it. What to do?

Meanwhile, Vera has decided to grab some much-needed publicity by blowing her savings to purchase a 40,000-year-old Neanderthal man. The frozen caveman, played with charm, innocence and terrific comic skill by Broadway’s Grey Henson (BIGFOOT, THE MUSICAL; ELF; MEAN GIRLS), was a recent archeological discovery. In fact, he’s still embedded in a block of ice. However, once delivered to Miss Vimm’s palatial penthouse, the young man’s Siberian sepulcher begins to thaw. After an awkward moment of confrontation, Vera recognizes that her Iceboy is an orphan, just like her. The actress decides that she’s found the perfect, new hobby. Vera decides to become a mother to the hirsute young caveman. So she teaches him how to speak English, gets him coiffed at a fancy spa and then takes him shopping on 5th Avenue for a new wardrobe.

But while Vera is at the theatre, Iceboy spends a good deal of time at her Manhattan mansion with Vera’s hardworking assistant, Lambert. In a scene-stealing performance by gifted actress Sarah Stiles (TOOOTSIE; HAND TO GOD, on Broadway) the two gradually grow close. After Cedric discovers that Iceboy has some hidden theatrical talents, he decides to cast the Neanderthal as Vera’s understudy. But when the caveman goes onstage one night for Vera, he suddenly becomes the bright, new star of Broadway…much to the chagrin of Miss Vimm. And then, as might be expected, the plot thickens.

Nick Offerman (the star of television’s “Parks and Recreation” and “The Last of Us”), who is married in real life to Megan Mullally, shares the stage with her in the role of Pulitzer Prize-winning American playwright, Eugene O’Neill. Mr. Offerman is absolutely brilliant. Perfect for this role, Nick Offerman mainly serves as the musical’s sardonic narrator, constantly appearing both within and outside of the main story. The audience continually wonders what the playwright of THE ICEMAN COMETH has to do with this bizarre story about a frozen Neanderthal man. But, be patient. Eventually all the pieces do come together, with a hint that the Iceboy will ultimately be cast in the leading role of O’Neill’s famous drama. But as funny as this musical is,  and after a long wait, the very best scenes happen when Ms. Mullally and Mr. Offerman finally share the stage together in Act II. Because of their undeniable chemistry, these two actors make ICEBOY! really sizzle. 

In addition to favorite Chicago actor, and Jeff Award-winner, Alex Goodrich, who plays Vera Vimm’s unconventional butler, Frankenstein, there are so many cameo roles played by the show’s hardworking, talented ensemble and corps of understudies and swings. The company includes Donterrio, Melanie Brezill, Andrea San Miguel, Will Koski, Shawn Pfautsch and Linda Mugleston, Leah Morrow, Will Lidke and Jeff Parker.

An army of talented, behind the scenes theatre artists also lend their hand in bringing ICEBOY! to life. Joann M. Hunter, who has choreographed over 30 professional productions on Broadway, in the West End and down under in Australia, works her magic once again in this show. Making his Goodman debut, Paul Tate DePoo III (THE GREAT GATSBY, on Broadway; FAULT, at Chicago Shakespeare Theatre) demonstrates why he’s one of America’s most talented set designers. He has created the gorgeous,  versatile and very theatrical environment for ICEBOY! Brilliant Linda Cho has designed an unbelievable array of costumes for this production, with lovely period wig & hair design by Charles G. LaPointe and makeup design by Rachael Geier. Jen Schriever keeps ICEBOY! sparkling with her expert lighting design, and Connor Wang makes his Goodman debut with a well-executed sound design.

While there’s no denying that the laughs come fast and furious in ICEBOY!, this new musical isn’t quite perfect yet. There are a couple problems that need to be addressed before the show can successfully play The Big Apple. First of all, in Act II the story gets a little confusing and strays a bit offtrack. In addition, following the intermission the second act seems a little long. And, with one exception, there’s hardly any connection between the characters. Lambert and the Iceboy connect and become the heart and soul of this story, which is gratifying. 

The show is filled with so many comic characters and nonstop hilarity that the laughter is almost continuous. And that’s not a bad thing. But when push comes to shove, the theatergoer will realize that they really can’t identify with, or even care much about, most of the characters in this play. In successful musical comedies, like THE PRODUCERS, we laugh at all of the jokes and insanity, but we also empathize with the main characters. That is what’s missing…a feeling of kinship with Vera Vimm and Eugene O’Neill. The acting couple develop a momentary connection with each other in Act II, but then they move on to more hijinks and mayhem. 

ICEBOY! is indeed Wacky! Bizarre! Absurd! and maybe even Stupid! But this new musical comedy, now enjoying its world premiere as the finale production of the Goodman Theatre’s Centennial season, is a whole lot of fun. There aren’t any hidden messages or perplexing themes to be explored. It’s all fluff and frolicking tomfoolery, which is precisely what we need right now. Laughter, which many consider the best medicine, at a time when there hasn’t been a whole lot to laugh at, is much welcome. So “cometh” to the Goodman, leave reason and reality at the door, and get ready for some total insanity!     

Recommended

Reviewed by Colin Douglas

Presented June 20-August 9 by the Goodman Theatre in the Albert Theatre, 170 N. Dearborn, Chicago. 

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.

Photos by Todd Rosenberg