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"Adrift in Macao," a spoof of the classic 1940s detective mystery, is a cleverly composed small-scale musical with catchy lyrics, an entertaining score and the snappy stage movement of director Sheryl Kaller.
The show is a wealth of crackling humor, rapid-fire jokes and sight gags wrapped up in a cunningly cynical score. It has the nostalgic atmosphere of all those splendid noir films like "The Big Sleep," "Double Indemnity" and "The Maltese Falcon."
The term "noir" broadly refers to American suspense films in the 1940s and ’50s. The fatalistic themes suggested an unstable world full of danger and moral corruption. They usually involved a crime story featuring a hard-boiled detective, an alluring but dangerous woman, plus a host of unsavory underworld types. They were usually shot in black and white using light and shadow for striking contrast with a complex (even convoluted) plot that had a distinctly downbeat flavor.
Following World War II, French critics dubbed this influx of American imports "film noir." The creators of "Adrift in Macao" have done their homework, drawing on the best-known films of the genre to recreate the evocative tone of the noir classics.
Tony Award-winner Michael Rupert headlines the sparkling cast of the genre-bending new musical by Christopher Durang and Peter Melnick. The cast includes Rachel deBenedet, Jennie Eisenhower, Michael Malone, David McDonald, Orville Mendoza and Michael Ragusa.
Mixing together farce, camp and tongue-in-cheek wit, "Adrift in Macao" spins the tale of five quirky characters stranded in a Casablanca-like locale in the Far East. Complete with intrigue, silliness and a playfully melodic score, the production is the newest work from a gifted young theater composer and one of America’s funniest playwrights. It is the second world premiere for Durang this season, following "Miss Witherspoon" at the McCarter Theatre earlier this fall.
The Philadelphia Theatre Company production is the expansion of a one-act piece Durang thought worked well and deserved amplification to its present 90 minutes.
There may not be any readily hummable songs, but for high-spirited fun and outlandishly ridiculous lyrics, this hits the mark. To be sure, not a single moment is burdened by a serious idea. This is parody, spoof and good-natured, lay-it-on-thick – "Here’s looking at you kid" without a message.
Diehard film buffs will recognize a reference to Mary Astor in the most celebrated role of Brigid O’Shaughnessy in "The Maltese Falcon."
Durang says that "women like O’Shaughnessy give a new meaning to the idea of drop-dead gorgeous." He is realistic about the genre, which tends to be less logical than entertaining. "There’s something about those clubs – I’m not sure they ever existed in real life – and the women who show up and always somehow land a job as a singer." He adds, "there’s an element of musical comedy, it’s not so much about crime or the kind of evil woman played by Barbara Stanwyck. It’s more smoky nightclubs, singers and mysterious men."
"Adrift" is a mischievous parody that follows a beautiful woman who winds up in an exotic nightclub owned by a fellow named Rick (Rupert). She can’t carry a tune, but she looks good in an evening gown, so she becomes the club’s singer. Rick is dashing, but there’s also a mysterious man named McGuffin for whom everyone’s searching.
As in the film "Casablanca," the people stuck in Macao are waiting for something. The difference being that in the 1942 film they were waiting for visas, while the folks in Macao have no idea what they are waiting for. And while they wait in Rick’s nightclub, in wanders Mitch (David McDonald), an American who has been framed for murder by a mysterious villain named McGuffin. (McGuffin is the nickname Alfred Hitchcock used for the idea that drove his plots.)
There’s some terrific singing here done by a superbly versatile cast with remarkably lavish production numbers performed by sometimes three, sometimes five people. Everybody gets a big song – even Rick, who’s number is about not having been given a song.
Durang’s book doesn’t attempt to tell a coherent story, a condition that can lead to some monotonous moments. During these brief lulls, the cast tries a bit harder, pushing the humor. However, unlike some of Durang’s more outrageous comedies, it’s hard to imagine any theatergoer finding the material in "Adrift" offensive.
"Adrift In Macao"
Through Nov. 20
Plays & Players Theater
1714 Delancey St.
Tickets: $31-$49
215-985-0402
www.phillytheatreco.com
