Romantic ‘Fanny’ returns to New York in fine concert form

Encores! series revives a 1954 hit by neglected songwriter Harold Rome

BY MICHAEL SOMMERS

NEWJERSEYNEWSROOM.COM

OFF BROADWAY REVIEW

Cole Porter, Irving Berlin and Frank Loesser are celebrated for writing both the music and words for their scores, but their contemporary Harold Rome (1908-1993) has scarcely received his due recognition for the same accomplishment on a dozen Broadway musicals and revues.

With hits like "Call Me Mister" and "Wish You Were Here" to his credit, Rome usually wrote songs about urban Americans in contemporary situations. But Rome's 1954 musical "Fanny" is something else again.

Adapted from Marcel Pagnol's "Marseilles Trilogy" of plays and films, "Fanny" transpires along the Mediterranean coast in the 1920s-30s and Rome's warm, emotional score persuasively suggests that picturesque place and its raffish people. For all of its music-box waltzes and charming sentiments, a wild, windswept quality at times drives the music and because "Fanny" involves a serious romance, the title number is among the most soaring ballads ever composed for Broadway.

Crafted in the Golden Age of Broadway's classic manner (one of Oscar Hammerstein II's greatest regrets was not musicalizing this story with Richard Rodgers when they had the chance to do it before Rome), "Fanny" rarely gets a hearing these days. The last major production in these parts was seen at Paper Mill Playhouse in Millburn back in 1990 starring Jose Ferrer and George C. Irving.

Fortunately, New York City Center's Encores! concert series now offers "Fanny" through Sunday and it's a pleasure to see the dear old thing again. "Fanny" marks the series' fiftieth concert version of rarely-done Broadway musicals and by now they've got these presentations down to a science.

The leisurely story centers on Fanny (Elena Shaddow), a nice girl impregnated by her restless sweetheart Marius (James Snyder) just as he runs off on a five-year voyage. So Fanny makes a fond marriage of convenience with an older, well-to-do merchant Panisse (Fred Applegate) who knows her secret and yet is thrilled to have a son to call his own. Later Marius returns and - well, that's dealt with during the second act.

The script has been sharply edited down to its essentials by David Ives while the score is beautifully rendered in full, fragrant bloom by music director Rob Berman's onstage orchestra.

Designer John Lee Beatty provides atmospheric scenic bits against blue skies. Lorin Latarro's high-flying choreography is nimbly executed -especially so in an acrobatic circus sequence and by Nina Lafarga's sinuous turn as a belly dancer - and the choral singing is robust. Ken Billington's lighting lends color and romance. Nicely dressed by Martin Pakledinaz, the leading performers often carry scripts (reflecting their one-week rehearsal period), but deliver fully-fleshed characterizations.

Under Marc Bruni's smooth direction, first-class artists generate a good deal of magic. Genuine warmth can be seen in the growing bond between Shaddow's sweet, unassertive Fanny and Applegate's good-hearted Panisse. Snyder makes an ardent Marius and George Hearn portrays his crusty dad with a twinkle. Taking a break from "In the Heights," longtime Montclair resident Priscilla Lopez tartly depicts Fanny's semi-fishwife of a mother.

For all of the musical's poignant appeal, "Fanny" appears unlikely to transfer to Broadway as did the Encores! series' revivals of "Chicago" and "Wonderful Town." The musical's old-school format and its unabashed emotional sincerity are (sadly) not in tune with today's predominating taste for fast, furious entertainment. So anyone who'd love to see this golden oldie should get to City Center this weekend.

"Fanny" continues through Sunday at New York City Center, 131 W. 55th St., New York. Call (212) 581-1212 or visit www.nycitycenter.org.