“The Goodbye Girl”
Written by Neil Simon
Showing: Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, through March 2
Tickets: $39.75-$50
Contact: (630) 530-0111; www.drurylaneoakbrook.com

By Brian Kirst

Contributing writer

It is a dubious prospect to mount a production of a musical that survived its original Broadway run on the strength of its lead actors (Bernadette Peters and Martin Short) alone. It is truly disappointing, though, that the distinguished talent behind Drury Lane Oakbrook’s version of Neil Simon’s “The Goodbye Girl” attacks this project with such unexpected hesitancy and lack of flair.

True, there are surprisingly charming moments to be found here. A more energetic commitment could have produced more of these or perhaps even made up entirely for the show’s intense mediocrity.

This variation follows the popular original comedy’s plotline. Paula, a former entertainer, is unexpectedly abandoned by her lover, an actor. She finds that her former paramour has also subleased their apartment to a visiting actor, Elliott. Determined to protect and provide a home for her acerbic daughter, Lucy, Paula strikes a deal with Elliott: They will share the apartment. Paula ignores the tritely expected romantic tension between her and Elliott, determined not to be burned by yet another creative type. Of course, by the end, all ends well with Paula, with Elliott and Lucy finding eternal happiness together.

Simon’s script loads all of its emotional revelations into one overloaded scene near the end of the show. While Marvin Hamlisch’s music is lush and full, David Zippel’s frequently bland, often trite lyrics do not help the situation. There are some exceptions, though, including the beautiful “No More” (which is an awkward show opener), the amusing “Beat Behind” and the heartfelt “I Can Play This Part.”

Even celebrated director Gary Griffin’s staging seems surprisingly light. Some scenes, including a final balcony scene, are awkwardly staged. One of the most enjoyable numbers, “Beat Behind,” is marred simply by the fact that its comic point is neutered. The song revolves around the fact that former dancer Paula is beaten down and out of shape. The pert Susan Moniz, who portrays Paula, looks lithe and fabulous.

Griffin does work wonders with Bernie Yvon’s performance of the often frustrated, yet determined Elliott and his spot-on chorus. Yvon’s personality and charm shines through even when he loses his voice during the musical numbers, which was frequently the case on opening night. Yvon works comic magic during such numbers as “Richard Interred” and “Paula (An Improvised Love Song),” maneuvering his way successfully into the audience’s heart. The ensemble, anchored by Ryan Reilly, Matt Raftery, Amanda Tanguay, Parrish Collier and Kelly Anne Clark, sparkles and commits itself to this project as if it were a much more exceptional show. They are aided by Tammy Mader’s simple, bright choreography. Neil Friedman also provides focused, humorously endowed antics in his featured roles of Mark and Ricky Simpson.

As Paula, the accomplished, magnetic Moniz seems to struggle slightly throughout the first act, and her vocalizing is marred by some minor enunciation problems. She truly comes alive in the second act, though, providing a bit of theatrical magic that almost makes a trip to Oakbrook to witness this uneven production seem like a viable option.