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Regional Reviews: Phoenix Tootsie Also see Gil's review of Significant Other
While the film centered on a struggling actor landing a role in a soap opera, the musical cleverly shifts the setting to Broadway, with actor Michael Dorsey donning a dress and wig and calling himself Dorothy Michaels to land a role in the new Broadway musical Juliet's Curse. Michael discovers a sense of empowerment as Dorothy that he never felt as himself, while his need for perfection and his argumentative nature to challenge those he feels are doing inadequate work, which were the reason he had difficulty being cast, actually help to improve the quality of the show. However, he also begins to fall in love with Julie, his leading lady. When Michael realizes he's in too deep, he knows he must find a way to be honest with Julie, even as he continues to hide his true identity and lie to his co-workers. David Yazbek's score is charming and melodic, with several numbers that are fun and full of energy, and Michael's transformation into Dorothy Michaels and the humorous plot points and quirky characters are accompanied by some lively music that propels the story forward. The Tony winning book by Robert Horn is sharp and laugh-out-loud funny, filled with witty lines and memorable characters. Horn's changes from a soap opera setting to a modern Broadway theatre allow for numerous insider theatre jokes and contemporary references while still telling a story about ambition, friendship and self-discovery. It's also nice to have a film to stage adaptation that isn't almost 100% faithful to the film screenplay as it gives those who are familiar with the film many fresh moments to discover. Together, the music and script give the show a buoyant, fast-paced feel that keeps audiences entertained from start to finish. However, the score does not quite reach the same heights as Yazbek's earlier work for shows like The Band's Visit, Dirty Rotten Scoundrels, or The Full Monty. There are no true standout solo songs for Dorothy, which feels like a missed opportunity. While Horn's book smartly addresses some of the sexism inherent in the film that are still prevalent today, there are several moments that feel a bit implausible. Michael's sudden ability to acquire the perfect clothes and wig to become Dorothy before the audition and how he seems to instantly know how to portray a woman strain credibility, and in today's world, the idea that a man disguised as a woman would take a role away from a qualified actress and also earn acclaim without immediate social media scrutiny and backlash feels unlikely. Fortunately, the book doesn't tack on a happy ending but keeps it ambiguous like it was in the movie. Horn also weaves in a touching sense of discovery about female relationships that Michael experiences as Dorothy. His realization that "women listen to each other" sparks a journey of awareness that helps him grow into a better man while supporting the women around him, and this theme comes through more clearly and powerfully here than in the film. The cast is great. As Michael/Dorothy, Matt Michael manages to balance quick comic timing with a genuine emotional journey, making both personas believable and likable; you can easily see why Julie easily becomes friends with Dorothy. Reba Hartman is lovely as Julie Nichols, the talented and passionate actress who becomes close friends with Dorothy. The scenes Dorothy and Julie share are honest and authentic due to the performances by Michael and Hartman and Horn's smart dialogue. With sharp comic timing, Adam Vargas is great as Michael's sarcastic, matter-of-fact yet supportive roommate, Jeff, and Sarah Joy Kane is a bundle of nervous energy as Michael's friend, the kooky, insecure Sandy Lester. Roberto Silva-Neto has excellent comic delivery as the sweet and dimwitted Max Van Horn, a reality TV star who has no acting experience but was hired so Juliet's Curse would have a "name" in it. Tyler Gallaher is fun as Ron Carlisle, the sexist, temperamental and egotistical director of the show. As Rita Marshall, the shrewd and confident producer who refuses to be intimidated by anyone, Kathi Osborne has sharp comic timing but also creates a warm and smart character, and Tony Blosser is very good as Stan Fields, Michael's no-nonsense agent who is impressed by the extreme lengths his client takes to land a role. The ensemble cast deliver Lynzee Foreman's energetic choreography with precision. Ken Urso's direction derives realistic characters from his cast and his staging keeps the pace brisk, thanks to the combination of Douglas A. Clarke's scenic design, which uses several movable set elements pieces, and Chris Ignacio's media design that features colorful and vibrant images, quickly moving us from one location to the next. Urso's direction also ensures that the funny moments in the show resonate. Bob Kuhn's costume designs and Chris Zizzo's wigs are impressive, with Dorothy's wardrobe being both convincing and stylish. The lighting by Casey Price uses a range of colors and hues to deliver some lovely stage images. While musical tracks are used, Mark 4Man's music direction delivers warm sounds from the cast. While I have a few minor issues with the book and score, Tootsie succeeds in delivering big laughs, charming characters, and an affectionate poke at the theatre world, while also updating the film plot with a modern sensibility. Tootsie runs through September 13, 2025, at Arizona Broadway Theatre, 7701 West Paradise Lane, Peoria AZ. For tickets and information, please visit www.azbroadway.org or call 623-776-8400. Director: Ken Urso Cast: |
