Charlene Baldridge | Theater Review

Excitement was high. The Sheryl and Harvey White Theatre was packed to the rafters. And judging from opening night response — attendees include many Old Globe employees, walked in to fill empty seats — the venerable theater nabbed a winner with the world premiere of Rick Elice and Michael Patrick Walker’s new musical, “Dog and Pony.” Directed by esteemed actor/director Roger Rees, the show continues through June 29. Grab tickets now.

Elice, who is Rees’ longtime partner in life as well as in the realm of creativity, is exceptionally adept with dialogue and character. He co-wrote the Tony and Olivier Award-winning musical “Jersey Boys” as well as the play “Peter and the Starcatcher,” which is recipient of five Tony Awards. Walker pens rapid-fire, word-laden songs (he’s the lyricist, too) and was one of the creators of “Altar Boyz.” His song lyrics advance plot beautifully, but this listener waited all evening for a full-on ballad.

Act One still needs to be trimmed a bit. This is one of those musicals that in early stages has a better Act Two, which is where Elise’s other characters take flight, and as they all collide the comedy becomes intense and the musical takes on fullness and hilarity that is quite unlike any other.

With 11 hits in 13 years, the single and driven Mags (Nicole Parker) and the neurotic, narcissist, married-with-child Andy (Jon Patrick Walker) are an extremely successful film-writing team. Their relationship (she is the giver; he the taker) is the epitome of codependency. Quite simply, Mags loves Andy and is used to tending his every need, sans sex.

When Andy’s marriage to the horsey, rifle-toting Jane (Heidi Blickenstaff) ends, Mags is there to pick up the pieces, obviously hoping for the biggest one, Andy. Indeed, he proposes to her, but the marriage (in a humor-laced series of aborted scenes) never takes place, and soon Andy announces he’s met Bonnie (also Blickenstaff, who really cuts loose), who turns out to be a modern Ms. Malaprop of the first order. The Bonnie scenes are so blithely delicious one wants to take them home and memorize them.

Elice’s additional character conflation includes Beth Leavel’s assignments as both Mags’ and Andy’s mothers. A treasured theatrical moment transpires when Leavel portrays both mothers as they interact with their offspring. The only separation is an imaginary line in the center of the stage.

Appealing and versatile, Jon Patrick Walker plays all the other men in the company, including a host-emcee, Andy’s country neighbor, and Joe, a CNN fact checker Mags and Andy meet on an airplane. Mags finally embraces her feminist self and exits the plane, leaving the flight-phobic Andy to cope on his own.

The major device is a framer, which comes and goes with ease. After an acrimonious parting, Mags and Andy have not spoken for 10 months. Each receives an invitation to The Ketchum Komedy Honors, at which they are to be honored for their comic films. Their joint interview frames the story.

The beauty of this well-constructed, splendidly cast, thoroughly entertaining work is its integrity. No character is undeveloped, and no laugh cheaply evoked. The most clever musical moments are Jane and Mags’ “One Less Pony,” Bonnie’s “Bonnie Doesn’t Get It,” and Mags’ “Mags Takes Flight.” Closest to ballads are “One More Moment,” “Be There,” and “Better.”

A superb five-piece orchestra is hidden under the floor. The singers see conductor Adam Wachter on TV monitors. The mix is good and the pace amazing.