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The Goodbye Girl
Book by Neil Simon
Music by Marvin Hamlisch
Lyrics by David Zippel
Directed by Gary Griffin
At Drury Lane Oakbrook Theatre
100 Drury Lane
Oakbrook Terrace, IL
Call 630-530-0111, tickets $25 - $29 (dinner packages $39.55 - $50)
Wednesdays at 1:30 pm
Thursdays at 1:30 pm
Fridays at 8:30 pm
Saturdays at 5 & 8:30 pm
Sundays at 2 & 6 pm
Running time is 2 hours, 15 minutes with intermission
Through March 2, 2008
Strong performances carry The Goodbye Girl
Based on the 1977 Academy Award winning comedy by Neil Simon which starred Marsha Mason and Richard Dreyfuss, The Goodbye Girl became a musical in 1993 with book by Simon, music by Marvin Hamlisch and lyrics by David Zippel. It starred Bernadette Peters and Martin Short but it only lasted 188 performances. The show was too much of a sit-com that lacked both character development and a memorable score. Peters and Short never were believable as lovers. But the show has loads of funny one-liners and some smart lyrics and a most lovable character in Elliott, the actor from Chicago.
Under Gary Griffin’s direction, The Goodbye Girl has enough charm, warmth and comedy to be engaging. Drury Lane Oakbrook’s production values utilized a fine revolving set (design by Brian Sidney Bembridge) depicting a Manhattan apartment. Ultimately, The Goodbye Girl is a romantic comedy that unfolds as an adventure about love and commitment. The two main characters Paula (Susan Moniz) and Elliot (Bernie Yvon) anchor the 1970’s style Neil Simon comedy set to music.
Paula is a former dancer in her mid-30s living with her precocious 12 year old daughter Lucy (Theresa Moen) eagerly awaiting moving to Hollywood until her actor boy friend leavers her for Spain. Paula always finds loser boyfriends. She laments with her anthem “No More.” She then learns that her lost boyfriend has subleased the apartment to a Chicago actor. Forced to share the two bedroom with Elliott—an egotistical and opinionated struggling actor, Paula instantly is hostile to him. Different lifestyles offer comic situations and several cute songs such as “My Rules” and “Good News, Bad News” featuring Elliot, Paula with Lucy. Susan Moniz’s terrific acting together with her rich, emotionally deep vocals make her songs hauntingly effective. Young Theresa Moen was outstanding as the 12 year old daughter.
The musical has show biz elements such as “Beat Behind,” Hamlisch’s ode to A Chorus Line that has Paula auditioning for a dance ensemble. Elliot’s wild adventure doing Richard III as a man playing a woman playing a man in a hilarious turn by Bernie Yvon was a hoot! Yvon should get a medal for bravery as he gave a spirited performance in the demanding role of Elliott despite having laryngitis. Yvon almost lost his voice but exuded all the charm, warmth and physicality to win out hearts. Yvon was fabulous as Elliott landing his songs effectively (despite his sickly voice) with his charismatic and lovable stage presence that makes his Elliot a truly empathetic character. Yvon and Moniz have fine chemistry making their romance believable despite Simon’s lack of character development. The 70’s style pop score has hints of disco and Barry Manilow with some effective R & B from Cherisse Scott’s Mrs. Crosby, the landlady who comments on the fledging romance between Elliot and Paula.
We see Paula learning to be able to trust and commit while Elliott wins both Lucy and Paula. They both learn to trust themselves before they can trust each other. The Goodbye Girl has some dated, sit-comish turns with underdeveloped characters and a workable yet mediocre score. Susan Moniz and Bernie Yvon do such wonderful work with Moniz’s scorching songs and Yvon’s comic chops and genuine warmth that the Drury Lane production becomes a winning affair. Moniz and Yvon rise above the material with their sheer talent and energy to make The Goodbye Girl into a fun evening of musical comedy.
Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: January 3, 2008
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