This is what great musical theater was meant to be. From the swell of the overture—remember overtures?—deftly conducted by Rob Berman, to an ovation for which the audience happily stood, you will grin, laugh, sway and lift the occasional eyebrow throughout one of the most charming, satisfying, and beautifully produced evenings of theater you’ve seen in years! Buy tickets for Finian’s Rainbow now before it opens on October 29. The lines will be jammed.

Not having seen the Encores revival that spawned this one, there will be no comparisons. The original Broadway production opened on January 10, 1947 and ran 725 performances. Time Magazine then reviewed it as having “wacky freshness.” David Wayne won the very first “Featured Actor in a Musical” Tony Award for his role as Og, the leprechaun.

Finian McLonergan (Jim Norton) emigrates with his daughter, Sharon (Kate Baldwin) from Ireland to the mythical tobacco-proud state of Missitucky with a hidden crock of gold stolen from the leprechauns of Glocca Morra. He believes the gold will grow and multiply when buried near Fort Knox. Sharon doesn’t know about the gold and doesn’t believe in leprechauns, but takes to her new surroundings when romance puts in her path the brash young Woody Mahoney (Cheyenne Jackson). They’ve been followed to Rainbow Valley by Og (Christopher Fitzgerald, photo below) a leprechaun determined to bring the crock back to its rightful home. Much to his consternation and confusion, the longer Og remains on American soil and without the magic of his gold, the more mortal he becomes. In particular, his reactions first to Sharon and then to Woody’s sister, Susan (Alina Faye from American Ballet Theater) a mute who communicates by dancing, is something of an effervescent possession. It’s also the occasion for a lilting, “When I’m Not Near the Girl I Love, I Love the Girl I’m Near.”

If this sounds like a simple fairy tale, mix in a bigoted and corrupt senator (David Schramm) trying to steal the community’s land, a sheriff on the take and an oily henchman. The very real issues of early Southern prejudice could not be more clearly drawn than what ensues when an accidental wish effected by the hidden gold, turns the senator black (a memorable and extremely clever moment in terms of staging and casting) and he necessarily learns not only what it was to be dismissed and denigrated but also the nature of a real brotherhood. Stir rhythmically and throw in a good-sized dash of ridiculous government bureaucracy and the illusions (and repercussions) of extensive credit: “When the Idle Poor Become the Idle Rich” and the plot is as topical as it is romantic and whimsical.

The casting is pitch perfect, not the least because a stage filled with experienced but largely unfamiliar faces (this won’t last long) allows the audience to be engaged by the characters and story not distracted by previous associations. Norton is more than credibly pixilated and does a nice jig. Baldwin has an absolutely beautiful singing voice, speaks with a lovely Irish brogue, dances like a gypsy and manages at once to make her character both sweet and grounded.

Jackson sings, dances, and looks like hero without ever hitting a false note. Faye is positively winning, conveying as much with her facial expressions as she does with her movement. (Had she not, the part would have been merely decorative). And then there’s the delightful Christopher Fitzgerald, who was added to the cast after the Encores production. Fitzgerald makes one believe in leprechauns. He sings well, dances with the lightness and charm of Donald O’Connor in his hey day, does nifty sleight-of-hand and has impeccable comic timing. Og has only to make an appearance and one’s spirits rise in anticipation.

There are strong, effective vocal turns by Chuck Cooper and Terri White (here’s a voice that could sing with Gabriel’s horn) both of whom look as if they’re having a helluva time, as does David Schramm with his aptly excessive role. This chorus not only sings and dances well, they react to what’s going on! When was the last time you witnessed that?! Energy, enthusiasm and cohesion—this group could power the lights on Broadway.

Warren Carlyle, the double threat director and choreographer who seems equally consummate at both must take credit for much of the above. The moderately sized stage is used with a genuine sense of composition and style. The choreography is fun, attractive, and appropriate. It feels new. There are endless little “bits” given the featured actors that enhance and tickle. Magic…happens.

John Lee Beatty has created a captivating set, both simple and completely creative in its choices. It provides an appealing backdrop of endless unexpected green textures forming a countryside that is immediately acceptable as a place where something extraordinary might occur. Toni-Leslie James has skillfully and imaginatively contributed great looking costumes that imply reality while giving her sharecroppers bright, colorful, many-patterned clothes removing us from it. The steadfast optimism of Finian’s Rainbow is shown to its best advantage here.

James’ leprechaun outfit is a stroke of memorable originality and wait until you see what’s ordered from the Shears and Robust catalog! Ken Billington’s lighting is a spell unto itself and Scott Lehrer’s rich, clear sound design is some of the best on Broadway.

I have no idea how things are in Glocca Morra this October but at the St. James Theatre things are more than sort of grandish, they’re enchanting.

Finian’s Rainbow
The St. James Theatre
246 West 46th Street
212-239-6200
www.finiansonbroadway.com
Warren Carlyle, Director/Choreographer
With: Jim Norton, Kate Baldwin, Cheyenne Jackson and Christopher Fitzgerald

Photos (except of Christopher Fitzgerald) are from the Encores production.