BWW Reviews: Stages St. Louis's Production of PROMISES, PROMISES

I grew up listening to the music and lyrics of Burt Bacharach and Hal David, and I've always had a warm spot in my heart for their tuneful pop confections. So, it was with a considerable amount of anticipation that I looked forward to getting a chance to see a production of their 1968 hit Promises, Promises, which combines their songs with a funny and touching script by master comedy scribe Neil Simon (a rare adaptation by the finicky writer of I.A.L. Diamond and famed film director Billy Wilder's original screenplay from their Oscar-winning film, The Apartment). Stages St. Louis has put together a stunning production that completely captures that swinging 60's vibe, and an exceptional cast and sparkling direction combine to make this a must-see event.

Chuck Baxter is an ambitious young accountant toiling in obscurity within the bowels of the towering Consolidated Insurance company when he suddenly comes to the attention of some executives who can further his career. It seems that he just happens to live alone in an apartment which can provide these gentleman, and I use the term loosely, with the perfect location for them to successfully carry out their extra-marital affairs. Chuck goes along with their proposal and trades his living space for a chance to climb the corporate ladder, with the hope that he can then sufficiently impress and gain the affections of fellow employee Fran Kubilek. But, Chuck's rise doesn't go unnoticed, at least by his boss, J.D. Sheldrake, who susses out his scheme and decides to get in on the action himself. To complicate matters, Sheldrake just happens to be stepping out on his wife with Fran.

With Chuck Baxter, Ben Nordstrom's affable charms and likable personality have found a perfect outlet, and he works the part, and the audience, with considerable aplomb. Nordstrom is on stage and the focus of our attention for nearly the entirety of the show, and he makes every single moment of it count. His winning attitude and keen sense of humor really drives the action, and he stands out on several numbers including: "Half as Big as Life", "She Likes Basketball" and "Promises, Promises". He's well matched with Tari Kelly, who's simply delightful as Fran, displaying a terrific vocal performance on "Knowing When to Leave", and even neatly comping the opening chords on acoustic guitar for their plaintive duet during "I'll Never Fall in Love Again".

Brandi Wooten is a riot, and nearly brings down the house as Marge Macdougall, a boozy flirt that Chuck meets in a bar while drowning his sorrows after he finds out about the goings on between his boss and his crush. Wooten's inebriated antics are hilarious and add a huge kick to the second act that really acts to lighten the mood considerably. Richard Pruitt also contributes nicely as Dr. Dreyfuss who lives across the hall from Chuck, and is under the mistaken impression that the lad is having nightly orgies in his apartment. Michael Halling is good as Sheldrake, and impressed enough to actually draw (good-natured) boos for his villainous portrayal during the curtain call.

The supporting cast is solid from top to bottom, but I'd be remiss if I didn't mention the randy executives who start the plot in motion, and Edward Juvier (Mr. Dobitch), David Schmittou (Mr. Kirkeby), Darrel Blackburn (Mr. Vanderhof), and John Flack (Mr. Eichelberger) are simply splendid, and they get a chance to shine vocally with the self-explanatory number "Where Can You Take a Girl?".

Director Michael Hamilton keeps this energetic production steaming along, and despite it's relative length (for a comedy, anyway), there really aren't any lulls to contend with. He's aided by the lively choreography of Dana Lewis, who keeps the energy flowing with period inspired dance moves. Mark Halpin's scenic design works in concert with Matthew McCarthy's lighting scheme, utilizing clear panels that can be lit in various color schemes to set the mood, and the various hues he employs are smartly executed to maximize the effect. John Inchiostro's costumes also reflect the era, and his drab initial choice for Chuck is a perfect fit for the character. Stuart Elmore's orchestral design benefits greatly from music director Lisa Campbell Albert's vocal contributions. Her multi-tracked backing vocals provide that trademark sound we associate with Bacharach's arrangements.

This excellent production of Promises, Promises by Stages St. Louis is required viewing, and the show continues through August 15, 2010 at the Robert G. Reim Auditorium in Kirkwood, MO, so check it out.