I remember David Lee Ross singing “I’m Just a Gigolo” in my youth days, but the former Van Halen frontman, with his ’80s cluster, didn’t have Zack Nadruski’s Panash in the title of “Gigolo,” a very enjoyable musical on the stage at Winter Park Playhouse.
Nadolski is surrounded by equally fun cast members of “Gigolo,” a show featured at Playhouse’s debut in 2017 at Florida Florida Festival’s new musical festival, and its world premiere the following year.
Playhouse executive director Heather Alexander returned, “Because you loved it so much.” Good taste, Patron, good taste.
“Gigolo” is billed as a Cole Porter review, but it’s more than that. Creator Paul Gilger has arranged Porter’s songs (many of them are already fascinating little stories) in the comprehensive tale of the man (Nadolski) who leaves them until he finds a woman who truly touches his heart.
Beauty and artistry are that this cannot be conveyed through dialogue. It’s all about the facial expressions, choreography, music, especially the lyrics. As directed by Roy Allan, the characters are created and followed by emotional peaks and valleys. Everything is set to Porter’s fun songs. Gilger filmed enduring songs and turned them into cartoons.
Of course, he was especially helped by Playhouse’s Ned Wilkinson and Christopher Leavy. Along with percussionist Dam Forest, they create a louder and more slurping sound than the trio suggests.
The music is expanded by Toni Chandler’s elegant outfits, and looks extra fashionable against the scenic design of Art Deco, which was born by Daniel Cooksley. Alan pours into the show with his trademark choreography. Rear kicks and knee bends that are elegant and dignified, helping to acquire the Porter era of the 1920s and 30s.
There is also a bright tap number where Lizzie Wilde performed as a young woman who catches the eye of anti-heroes. Wild has a sparkling soprano, and it’s completely clear why Gigolo is being mitted after seeing her “return to Manhattan” figure.
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Other women in his life also make a great impression. Actress Hannah Laird laments about a doctor who loves her for her internal organs more than she does, and a doctor that Laura Hodos cannot be abandoned as a member of society. In my performance, Maharia Gronigan from Understudy gave the Countess the right secular atmosphere of the intense drink.
Returning to the role of Gigolo, he’s even better than the 2018 premiere. The charm is still under a cheeky, smirk, but the pity of his loveless life passes through. His view on “love of sales” is the treat of the show that was scattered around them.
Gilger has masterfully built the show, opening it with a song explaining why each woman is vulnerable to Gigolo’s advances. Hodos sinks her teeth into “depth (90th floor).”
The playful “You Are Top” and “Let’s Do It” offer a musical through line appealingly, and the show achieves what a good review should be.
The word means Music Theatre International has expressed interest in licensing the show, making it widely available to other theatres discover and present. It would deserve a show that does justice for Cole Porter.
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As Porter himself says, “It’s de-lovely.”
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‘Gigoro’
Length: 2 hours including break: Winter Park Playhouse, 711 Orange Ave. Winter Park.
