A FUN, LIVELY KANDER & EBB MUSICAL
AND THE TICKET PRICE ISN’T EX-ZORBA-TANT
Life, liberty, and the pursuit of happiness: If a character in musical theatre is going to make a declaration of independence, these three things are cherished. A good example is Zorba!. It is a cornucopia of carpe diem being treated to a vibrant revival by the J2 Spotlight Musical Theater through May 4th, and brings its own happiness. The score, by the great team of John Kander and Fred Ebb, with a book by Joseph Stein (following the novel and film named Zorba the Greek) confronts the three aforementioned topics head on: The opening number tells us, philosophically and with examples, exactly what “Life Is”; the personal priority of liberty is proudly proclaimed by the pragmatic protagonist in “I Am Free.” And the pursuit of happiness is what he and the show are all about: the main female opines that the happiness goal is achieved with one thing:“Only Love” (“after all, after love, what else is there?”). And sorrows and strife come inevitably. What to do when dealing with disasters, deaths, devastation, and disappointment? Dance while you can! (Flavorful choreography: Nicos Kazantzakis)
Kander & Ebb’s shows have often explored darker sides of the human experience, but there’s a happy side they point us to, too. In their first produced show, the titular character of Flora, the Red Menace advised in a bold number: “Sing Happy.” Their second show, Cabaret, had its Emcee telling the club’s patrons, “So, life is disappointing – Forget it. In here, life is beautiful.” The title of their third project stressed the kind of experience that should be remembered; it was called The Happy Time. Is there a pattern? In a word: “Yes”— which was also the name of a number in their musical 70, Girls, 70, which urged optimism and taking risks (“You’ll never win if you never play”); I suppose a cynic would point out that the latter, their fifth effort, ran for exactly a month. But their fourth one did pretty well — and that was 1968’s Zorba!, boasting over 300 performances and a revival in the ’80s lasted even longer. It’s arguably the K&E project most focused on the priority of seeking and cherishing joyful times. But it is saturated with struggles and strife, taunting, tension, troubling memories, has incidents of deception, cruelty, unrequited affection, rejection, a brawl, an explosion, fierce arguments, and more than one death. Well, nobody said the pursuit of happiness was via a road without some bumps in it.
Once again, director Robert W. Schneider and music director Miles Plant, leading a small band above the stage, go above and beyond the “call of duty” to deliver more than mere diversion and dazzling entertainment. With rich atmosphere, detail, and cohesiveness, they weave a wonderful tapestry of emotional colors and character.
With some in the multi-tasking terrific ten-member cast playing more than one key role, not all with spelled-out backstories early on, and with certain actions staged more artistically than literally, things can seem confusing here and there. The teasing that some character(s) may not mean to sound mean may come across as something more than harmless fun. Note: working-class, alcohol-fueled mob mentality, informed by attitudes towards gender, sex, social interactions (in 1924’s Greece) all have effects, so don’t look for refined, sophisticated folk tossing off bon mots.
By and large, the larger-than-life, life-embracing guy named Zorba fearlessly seizes the day with relish because, instead of acting as if he’ll live forever, he lives as if he might die at any moment. Carrying himself with confident, carefree, cocky charm, he talks a good game, and he’s game for adventures. Jeremy Radin radiates the right mix of brash and rash actions that form the formidable appeal and zeal of Zorba. He engenders audience affection despite the character’s fast-talking, slow-walking towards possible marriage with the besotted Hortense (on-target Catherine LeFrere). Her anticipation and hope when he returns from a trip contrast with her mindset in their earlier song of farewell, when she comically kept pleading “Don’t forget me!” – then sighing “He’ll forget me; they always do.” (The actress makes a strong impression; you won’t forget her.) There’s plenty of high energy in the lusty, aptly vulgarity-adjacent tones, tempers and temperature of the piece and pace; the solidly sage persona projected by Elora Von Rosch is full of guts and grit with earthy Earth mother vibes – and, thank goodness, she’s blessed with a big voice that PROJECTS.
In much subtler and warmer ways, playing Niko – the outsider referred to by the town as “Boss” because he employs Zorba and others to work in the mine he’s inherited – the star quality of Quinn Corcoran casts a special spell. Impressively, its strength can come through the character’s stillness and stiffness, his steady eye contact. Ever reacting with body language and facial expressions, cautiously checking out things and people, offering reality checks, this accomplished actor playing the mine owner mines the dramatic potential of the incremental character changes as Niko goes from tense to tender and aloof to involved, with convincing moments of anger, reflection, and connection. The “odd couple” friendship of Niko and Zorba, each challenging the other to be what contemporary parlance calls one’s “best self” is engaging. When the younger man considers if he can take in Zorba’s “take a chance”/”take command” philosophy to seek love, reconsider revenge, it’s gripping. And while it may seem like simplistic advice to power past sorrow with dance, perhaps the dance contains the best steps for the activity of moving on. Leading the dance and life-plan by example, Zorba (the man and the musical) may well have worthy lessons for us all.
photos courtesy of J2 Spotlight
Zorba!
J2 Spotlight Musical Theater Company
AMT Theater, 354 W. 45th St
ends on May 4, 2025
for tickets, visit J2 Spotlight
