A much-needed good time can be had at Romeo & Bernadette, a lighthearted musical spin on Shakespeare’s tragic love story. At opening, a Brooklynite is attempting to get his date back in the mood for love after a performance of Romeo and Juliet leaves her teary eyed. He spins a tale of Romeo’s post-curtain exploits, weaving himself into the plot as Romeo’s newfound best friend, Dino Del Canto. In this new and evolving chapter, the young lover is propelled out of place and time to 1960s Brooklyn in search of Bernadette, a woman with whom he crossed paths in Verona. Bearing an uncanny resemblance to his deceased beloved, she stole his heart during their brief encounter. Upon arrival on Bernadette’s shores, Romeo learns that she is the daughter of famed mob boss Sal Penza. Now he once again finds himself torn between two warring families, this time with Dino at his side for guidance.
Nikita Burshteyn (Romeo) and Michael Notardonato (Dino) in Romeo & Bernadette. Photo credit: Russ Rowland
With a book and lyrics by Mark Saltzman, the piece is filled with the good natured sweetness you’d expect from someone who began his New York career with the Muppets. The script blends iambic pentameter, modern colloquialisms, and humor as broad as Interstate 278. The music, adapted from classic Italian melodies and wonderfully orchestrated by Steve Orich, is tuneful and uplifting. Story and song are delivered smoothly by the adept cast. Making his Off-Broadway debut as Romeo, Nikita Burshteyn hits both literal and figurative high notes. Recent college graduate Anna Kostakis manages to soar even while bringing a slightly nasal whine to Bernadette’s solos. And Michael Notardonato, also making his Off-Broadway debut, gives us plenty to wink and nod at as Dino and our narrator. Also doing double duty is newcomer Ari Raskin as Bernadette’s edgy BFF Donna and the Brooklyn Girl on a date observing the action. The more seasoned veterans in the company — Carlos Lopez, Michael Marotta, Judy McLane, Troy Valjean Rucker, Zach Schanne, and Viet Vo — are strong in their supporting roles. The story sags at the beginning of Act 2 with too many side bits allowing some of the good mood felt at intermission to dissipate. But just like its plucky heroine, the production pulls itself together to deliver a satisfying finish.
Currently running in the black box Mezzanine Theatre at A.R.T., the work is given plenty of room to breathe. The direction and dance moves provided by Justin Ross Cohen are energetic and appropriately playful. Walt Spangler’s striking all white set has several purposeful sections including a small second story that serves as additional rooms and (naturally) a balcony. Costumes designed by Fabio Toblini and Joseph Shrope capture the spirited mood of the 1960s and give key scenes their own color coding. Fabulous hairstyles top off each look.
Romeo & Bernadette: A Musical Tale of Verona and Brooklyn delivers on its implied promise of mixing styles to humorous effect. The limited engagement is scheduled through February 16 at the Mezzanine Theatre at A.R.T./NY Theatres (502 West 53rd Street between 10th and 11th.) Runtime is approximately 2 hours with one 10 minute intermission. Tickets are priced at $49-$69 and can be purchased online at www.amasmusical.org/romeo-bernadette or by calling (866) 811-4111.
As Broadway musicals go, the small scale charmer of a flick Groundhog Day doesn’t seem the most obvious of inspiring sources. The comedic drama relies heavily on Bill Murray’s ability to deliver a stinging blow that is somehow forgivable. With the film’s move to the stage, that burden falls on Olivier Award winner Andy Karl as weatherman Phil Conners. He is charismatic and a joy to watch, but his wonderful performance isn’t quite enough to balance out the slightness of the material. The overall experience is theatrical cotton candy: ultimately sweet and instantly vanishing.
The Unforgettable Line 
A Letter to Harvey Milk
A Letter to Harvey Milk is a slightly flawed gem of a musical, giving voice to some little seen characters. The work is based on a Lesléa Newman’s short story which follows mildly eccentric but loving Jewish characters as they discover and embrace their identities as lesbians. In this case the seeker is Barbara, a Connecticut transplant earning a little extra money by teaching a writing class at the JCC in San Francisco. Her unexpected partner in self exploration is Harry, a widowed retired butcher who finds himself drawn to her classroom and her energy. What binds them is the titular letter that Harry composes as an assignment. The honest love and sincere appreciation expressed to his activist friend pulls Barbara into Harry’s story. She revels in the company of someone who is seemingly so comfortable with his choices. Their developing friendship takes them both to unexpected places.
Adam Heller and Julia Knitel with Aury Krebs in the background. Photo by Russ Rowland
The book by by Jerry James, Ellen M. Schwartz, Cheryl Stern and Laura I. Kramer provides enough detail to follow both Harry’s and Barbara’s struggles with love and loneliness. Throughout are two culturally significant threads about homosexuality and Judaism through time and in context. There are a few small gaps in logic such as how Barbara can be making any money with only one student, but those are easy to set aside. What doesn’t come through with sufficient clarity is the critical figure of Harvey Milk. He is painted in such broad strokes, those unfamiliar with his ground-breaking achievements will see a badly dressed kook with terrible eating habits. Perhaps the script suffered from too many cooks. Lyrics by Ellen M. Schwartz work better to move the story along and provide atmosphere. Music by Laura I. Kramer isn’t very memorable, but it does suit the words, particularly the Yankee Doodle Dandy treatment of some of Harvey’s most famous speeches.
Generally, the women in the cast outshine the men. Julia Knitel — who previously starred as Carole King in the touring company of Beautiful — has a soothing voice and magnificent articulation as she shapes Barbara’s story. As Frannie, Harry’s deceased wife who is by his side for the journey, co-lyricist Cheryl Stern is the comic relief, delivering Elaine Stritch-style patter and emphasis. And in her one big number, Aury Krebs is a dream. Michael Bartoli captures Harvey Milk’s patterns and mannerisms, but as described earlier, he isn’t given enough to work with. Supporting players Jeremy Greenbaum and CJ Pawlikowski do a fine job playing multiple roles. The weak link is Adam Heller who was off key as a singer and lacked sufficient variation as an actor. He has extensive Broadway experience, so perhaps it was just an off night.
Evan Pappas’s staging is clever, especially in the more intimate moments. The charming set by David L. Arsenault captures the feel of the Castro district of San Francisco complete with muted colors and a big Bay window. The orchestra, under the direction of Jeffrey Lodin, is perched on a balcony above so they are in view and adding to the ambiance. The costumes by Debbie Hobson are pitch-perfect, notably Barbara’s anklets and sweater vest and Frannie’s tidy suit. Christopher Akerlind’s lighting effectively changes color palette to the match the mood of each scene.
While A Little to Harvey Milk is still at a “great potential” stage of development, it is already a genuine crowd pleaser (for the right crowd) and impressive bang for the buck. Struggling with shame and the need for self-truth resonants even with those who are straight and/or gentile. It runs through May 13, 2018 at the Acorn, part of Theater Row. Tickets are $79 – $99 and can be purchased at Telecharge.com or by calling 212-239-6200.