A Catered Affair
This adaptation of Paddy Chayefsky's teleplay about an unhappy Bronx family proves that modesty and minimalism are not necessarily virtues in musicals.
But even audience members familiar with the tuner's provenance may think that this 90-minute chamber musical would fare better in a smaller auditorium instead of falling too timidly over the lip of the stage in this 900-plus-seat house. Moreover, with a score that too rarely feels as if it rises from random recitative to heighten-the-moment song, many spectators may easily conclude the whole enterprise would be less flat as a straight play. Modesty and minimalism in musicals aren't necessarily virtues.
The strongest elements here shouldn't be minimized: How Doyle -- hot as a pistol after his award-winning Broadway productions of Sweeney Todd and Company -- guides the actors through the development of their characters. The story revolves around Bronx housewife Aggie Hurley (Faith Prince) and her cab-driver husband Tom (Tom Wopat). Their daughter Janey (Leslie Kritzer) has just become engaged to Ralph Halloran (Matt Cavenaugh) and she doesn't want the big wedding her mother would like to give her.
Aggie's push for an expensive event stems from wanting to compensate her daughter for years of neglect in favor of an older son, only recently killed in the Korean conflict. Indeed, Aggie is so adamant about putting together a fancy-shmancy affair that she quickly gets her way without really encountering too much opposition from the supposedly strong-willed Janey -- a weak point in Fierstein's script.
In the process, Aggie appropriates the government insurance check Tom needs to obtain his share of a long-sought taxi medallion. At the same time, Aggie has to calm her gay live-in brother Winston (Fierstein), who would have been left out of a City Hall civil ceremony (and who vents his wrath in a particularly ugly and unlikely scene and almost-song "Immediate Family").
As the various tugs-of-ceremony-wars come to be resolved, Prince -- sporting no make-up, grayish wigs, and a wardrobe that designer Ann Hould-Ward must have accumulated from Goodwill outlets -- completely delivers the underplayed performance Doyle wants. So does the too-often underrated Wopat; his put-upon yet strong Tom gets the musical's only real aria: "I Stayed." Fierstein is mostly restrained, if you can believe it, while rising musical stars Kritzer and Cavenaugh also fit themselves into the prevailing sobriety.