BY MICHAEL SOMMERS

NEWJERSEYNEWSROOM.COM

Drawn from the brief and hectic life of Pulitzer-winning newspaper columnist Mike McAlary, “Lucky Guy” is Nora Ephron’s rousing romance of New York’s tabloid newsrooms.

Premiering on Monday at the Broadhurst Theater, director George C. Wolfe’s wonderfully evocative production stars Tom Hanks, who memorably makes a Tony Award-worthy Broadway debut as McAlary.

Sporting a thick mustache and a swaggering manner, Hanks fearlessly depicts McAlary as an ambitious, imperfect newshound driven to grab the biggest headlines and the highest salaries possible in his racy, fast-paced profession during the 1980s and ‘90s before his death at age 41.

Not a great play, but certainly a highly entertaining show populated by colorful individuals, “Lucky Guy” winningly observes the crazy camaraderie of foul-mouthed reporters and editors as they thrash out the news back in the smoke-filled day when New York City was wildly chaotic.

Ephron, who died last year, composed her chronological two-act drama as a swift series of short scenes. True to the tradition of journalists recounting their exploits, the fast-talking characters often narrate parts of this sketchy tale as the showboating McAlary scrambles to the disorderly top of the tabloid heap.  Ephron crafted typically humorous, insightful dialogue for these real-life people to speak that reveals some truths about their bygone times and get-that-story attitudes.

Although the second act goes somewhat TV-movie-of-the-week in quality when McAlary’s amazing luck turns hideously bad, Wolfe’s expertly-paced staging and the sterling performances he obtains bolster the drama. (As someone who somehow has long made a living as a journalist, I am a sucker for vintage stop-the-presses sagas, so my perceptions doubtlessly are colored a bit by personal sentiment.)

The director has orchestrated a production that supports the play in every way. The mostly black-and-white settings designed by David Rockwell fluently accommodate many locations and amusingly note technological changes in the newsroom as the years fly by.

Toni-Leslie James’ clothing aptly reflects the story’s personalities and period. The lighting designed by Jules Fisher and Peggy Eisenhauer as well as the projections created by Batwin + Robin Productions effectively lend further atmosphere to the show.

The 14-member ensemble’s well-integrated, bold performances are always a pleasure to witness. Peter Gerety’s beery, exuberant managing editor contrasts sharply against Courtney B. Vance’s reserved yet ever-intense city editor. Peter Scolari, Deirdre Lovejoy, Danny Mastrogiorgio and Richard Masur vividly render other reporters. Christopher McDonald offers a wily presence as McAlary’s natty attorney while Maura Tierney gives McAlary’s long-suffering wife a feisty edge. Stephen Tyrone Williams quietly divulges Abner Louima’s awful encounter with the law.

Confidently exuding undeniable star magnetism in his Broadway debut as McAlary, Hanks provides a charismatic portrayal of an obsessive man whose luck and newspapering instincts compensate for his slapdash and egocentric ways. If Hanks bellows here and there, his ebullient depiction of the larger-than-life McAlary otherwise proves to be an expertly controlled and sustained performance.

An enjoyable slice of tasty New York history, “Lucky Guy” is scarcely a drama for the ages, but Hanks’ exciting performance and the excellence of Wolfe’s production make it a satisfying evening of theater.

“Lucky Guy” continues through June 16 at the Broadhurst Theater, 235 W. 44th St., New York. Call (212) 239-6200 or visit www.luckyguyplay.com.