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REVIEW: ‘Nice Work If You Can Get It’ glows nicely

The two stars align brightly, with Broderick’s trademark pixilated manner contrasting very nicely with O’Hara’s brisk yet adorable ways. Loping around in Vanderbilt livery as the bogus butler, McGrath’s caustic exchanges with Kaye’s perfectly Margaret Dumont-esque dowager often strike comical gold. nice3work042412_opt

Marshall, who also creates the lively vo-de-o-do choreography, wisely avoids any business that might put a campy spin on the proceedings. Further, for all of the show’s exuberance, it never seems like the performers are sweating bullets to sell the audience on what they are doing, and such consummate easiness summons up the airy quality that characterized musicals of the 1920s.

Beautiful and/or slyly humorous period costumes by Martin Pakledinaz that move well with the dancing, a procession of handsomely old-fashioned settings by Derek McLane and refulgent lighting by Peter Kaczorowski beguile the eye, while Bill Elliott’s sparkling orchestrations sound mighty authentic on the ear. Anybody who remains crushed on old-school musicals surely will revel in such joyful entertainment.

“Nice Work If You Can Get It” continues at the Imperial Theater, 249 W. 45th St., New York. Call (212) 239-6200 or visit www.niceworkonbroadway.com.

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Comments (1)
1 Sunday, 29 April 2012 16:18
mc1227
Thank you for understanding this show. I was shocked to see so many mixed reviews and criticisms for Broderick. I thought the whole thing was delightful. Broderick was at the top of his game..

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