As Jim Norton recites in his closing monologue, “It’s Finian’s Rainbow. There’s no pot of gold at the end of it, but there’s a new world under it.”
There is no question that “Finian’s Rainbow” came out of musical theater’s heyday, originally debuting in 1947. The current revival—which opened Oct. 29—harkens back to a time when musicals were fluffy and cute, something that was not only acceptable but encouraged.
According to today’s standards, the show has way too many plot lines that happen way too fast. Finian McLonergan (Jim Norton) drags his young daughter, Sharon (Kate Baldwin) to the mythical southern state of Missitucky to bury his stolen pot of leprechaun gold near Fort Knox so that Sharon can have all the riches of life. Luckily, she meets Woody Mahoney (Cheyenne Jackson), and the two quickly fall in love after her father buys back Mahoney’s land from a power-hungry bigoted senator. Wait, there’s more: turns out that the leprechaun, Og (Christopher Fitzgerald), becomes more and more mortal the longer his gold sits hidden in the hills. The end of Act 1 leaves the audience members wondering where they are.
But despite the random plot lines and occasionally out-of-place songs, the show is actually cohesive and contains a wealth of talent. The production is musically superb in orchestration and vocals. From the downbeat of the overture (that’s right, there’s an overture), the score sighs with a gentle sweetness and occasionally punches with southern sass.
In “How Are Things In Glocca Morra?” Kate Baldwin charms the audience with her vocal strength and mature and expressive tone. Jackson matches her, swooning his “Old Devil Moon” with a voice that takes on the timbre of a 1950s radio personality. Norton triumphs as the meddling old father figure, tackling tongue-twisting rhymes and mastering a mischievous but hilarious wit while his warm vocals enchant the audience.
His duet with Og, “Something Sort of Grandish,” provides a bit of silliness but reveals a fantastic chemistry between cast members. After his various roles as magical creatures—from a munchkin in “Wicked” to a hunchback in “Young Frankenstein”—no one but Fitzgerald could play the sarcastically comical leprechaun. While his character forecasts “gloom and doom” in Missitucky, his impeccable comedic timing renders his performance happy and snappy.
The multiple dance breaks in director-choreographer Warren Carlyle’s lively choreography brought an element of class to Missitucky and challenging technique to the show, matching the vibrancy of the colorful costumes and set. The execution of his choreography was inconsistent in group numbers, but a polished product has potential for greatness. After all, the most riveting number in the show was Susan’s ballet, a breathtaking duet between Susan the Silent (Alina Faye) and the plantation harmonica player (Guy Davis). Faye’s soaring extension and grace as well as Davis’s gritty blues style presented a marriage of dance and music to produce sheer artistry.
A darling story of hope, love, and community set to the score of lullabies and gospel blues emerges beneath the entertaining exterior of “Finian’s Rainbow.” Cutting smartness and social commentary most relevant to our world today lie hidden under whimsical rhymes. Perhaps theatergoers could use a bit more fluff and a little less intellectual snobbery. In this new age of theater, there may be a new world under “Finian’s Rainbow."
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