Say hello to 'The Goodbye Girl' Say hello to 'The Goodbye Girl' (April 09, 2004)

Leads shine in Bus Barn's feel-good musical

By Jeanie Forte

First it was a play; then it was a film; now it's a musical. But, where just about everyone has seen either the play or the Richard Dreyfus-Marsha Mason film, hardly anyone has seen the musical, because it is very rarely performed.

Bernadette Peters and Martin Short co-starred in a 1993 production, which was nominated for five Tonys, including best musical. So why haven't we seen it more often?

I pondered this riddle as I watched the sunny, feel-good staging of "The Goodbye Girl," currently running at the Bus Barn Stage Company in Los Altos. The book follows the play very closely, chronicling the transition of Paula, an ex-dancer, (Molly Carter) from a woman dependent on absentee men to one who begins to like herself and her possibilities. Along the way she falls in love with a new kind of man for her, Elliot Garfield (David Curley), one that isn't afraid of commitment or a woman with her own identity.

I don't think I'm giving away too much here -- the story arc is relatively well-known and easy to grasp. What makes it enjoyable and worthwhile is Neil Simon's witty repartee between Paula and Elliot, spiced up with precocious barbs from Paula's savvy 11-year-old daughter, Lucy (Emily Trumble). The dialogue is classic Simon: urbane, sizzling, smart and surprisingly contemporary, even after some 20 years.

Nevertheless, I began to understand the musical's weakness -- Marvin Hamlisch's music too often sounds hackneyed or tossed off, as if he recycled threads of melody he rejected from earlier shows. And David Zippel's lyrics aren't nearly as clever as Simon's dialogue; they're sometimes witty, sometimes cute, but too predictable, for the most part. Songs should move a musical forward, and take the character from one place to another; they rarely do that here, which makes them feel somewhat stagnant.

Some of the tunes are catchy, though, and Paula's heartfelt "How Can I Win" could easily cross over into the world of lounge standards. Most of the songs can't do that, though, because the lyrics are too specific to the particular context of the musical, and would make no sense sung alone.

That being said, the leads in this production, Carter and Curley, are fabulous, both alone and together. Carter has just the right look and vocal tone for this part, and a solid talent that makes it easy to sit back and enjoy listening to her. She's also a generous performer, giving a lot of herself in the role and sharing the spotlight with her co-stars, as in her duets with Trumble and Curley.

Curley brings the house down more than once, not only with his terrific voice, but also with his amazing portrayal of Elliot. At times he seems to be channeling Dreyfus, at other times Robin Williams, and at others, he is a delightful original, reveling in the playfulness of the role. I've seen Curley shine in other shows, but this part seems written for him, and he makes the most of it. He and Carter alone are worth the price of admission.

Happily, the rest of the ensemble is also worthy -- good voices and good characterizations providing the necessary background color. Trumble is excellent as Lucy, with a sweet voice and just the right demeanor; her duets with both leads are highlights in the show. Her friends, played by Lauren Hart and Lauren Meyer, are cute, too, and their singing and acting hit the right notes.

Dawn Burroughs, although a bit young for the role of the brassy landlady, Mrs. Crosby, pulls it off with aplomb and a big, bluesy sound that endears her to the audience. I also liked Shannon Stowe's choreography, even if at times it seemed the dancers weren't quite up to the moves.

The "Richard III" subplot is hilariously rendered, with Ray Renati enjoying a humorous turn as the demanding director. Watching David/Elliot transform himself into the ridiculous Richard was a superbly funny theatrical moment.

Some of the set design choices were mystifying; the strange wallpapering makes the apartment look like a tenement slum, rather than an upscale pad worth fighting over. The transitions between scenes depended on an awkward set piece moving back and forth for no apparent reason, but the rooftop scene was appropriately magical and romantic.

If you have enjoyed "The Goodbye Girl" as a film or a play, then chances are good that you will enjoy the musical as well. The film has long been one of my favorites, and the musical book is just as satisfying. You'll also witness one of the best performances in a musical you're likely to see all year when Curley steps on stage.

Information

What : "The Goodbye Girl," presented by Bus Barn Stage Company. The production features book by Neil Simon, music by Marvin Hamlisch and lyrics by David Zippel.

Where : Bus Barn Theatre, 97 Hillview Ave. in Los Altos

When : Through April 17. Show times are 8 p.m. Thursday through Saturday. A discussion will take place on April 9.

Cost : Tickets are $28 for performances Thursday through Saturday; $22 for Sundays.

Info : Call 941-0551 or visit www.busbarn.org.

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