Part biography, part musical revue, Jimmy Logan’s Lauder is a jubilant celebration of “Scotland’s Kilted King of Broadway.” Born in 1870 in Edinburgh, Harry Lauder used laughter, imagination, and a strong sense of self to move up in the competitive world of music hall entertainment to become an international star and an early brand ambassador for Scotland. As the eldest child of 7, there was tremendous pressure on him to bring money into his household from a young age. But he was also lucky enough to find enduring love along the way.
From his entrance down the aisle, Jamie MacDougall throws himself into the role of this unforgettable comedian/minstrel with complete joy and commitment. Trained as a classical singer, he delivers the tunes about bonnie lassies with a soothing voice and a smile. An interview with an unseen reporter is used as the pretext for sharing highlights of Lauder’s journey beginning around age 10 and ending as the Scottish troops were coming home from the French front.
Directed by Kally Lloyd-Jones who also helped adapt Logan’s script, MacDougall is relaxed interacting with the audience. In Janis Hart’s design, a wicker travel chest and clothing rack hold the props and accessories he needs to fill out the images from Lauder’s history. Music director Derek Clark accompanies on the piano and helps expand the stage patter.
Whether you are familiar enough with the Harry Lauder songbook to sing along or getting introduced to his work, Lauder is a pleasant division from the constant bombardment of controversy and buzz. The explosive sound effects of war are the only disturbance. Produced by Scottish Opera and Loch Doune Productions, this offering is part of 59E59’s Brits Off Broadway series. Performances continue through Sunday, June 7 at 59 East 59th between Park and Madison Avenues in Theater B. Running time is listed as 75 minutes, though it ran closer to a full hour and a half this past Sunday afternoon. Tickets are all $44 for non-members and “best seat in the house” is a personal choice. Those requiring legroom should opt for row AA.
The lyrics rely heavily on the use of the F-word. There are also long asides recited over a single note in almost every song. These devices seem lazy given Goodman’s clear and strong opinions. Most non-musical sections bring a smile and several are big-laugh worthy. At a few intervals, Goodman asks the audience to participate, though mine was decidedly shy. Gags include the aforementioned wise vaginas and a team of uncooperative dancing boobs. Of the routines that stem from higher chakras, the right wing cheerleaders (pictured here) are among the most fully drawn. The modern twist on Vanilla Ice’s theme is genius. Another skit in which characters speak in Siri is just right. The only bit that fell completely flat featured two literal empty nesters who contemplate getting hooked on painkillers. This is one topic for which no amount of distance is enough.
The Unforgettable Line 