By Andrew Poretz . . . 

Way back in 1938, George Abbott, with the help of a couple of New York songwriters you might have heard of—Richard Rodgers and Lorenz Hart—adapted William Shakespeare’s A Comedy of Errors (itself based on an ancient Roman play involving twin brothers) into the musical comedy Broadway show, The Boys From Syracuse. That’s the former Greek city of Syracuse in Sicily, not the town in upstate New York. While the relatively modest hit ran only 235 performances in its initial production, the score gifted the world several “Great American Songbook” standards, notably “Falling in Love with Love,” “This Can’t Be Love,” and “Sing for Your Supper.” The team of music director Michael Lavine and host Michael Portantiere staged a fun concert version of the show at Feinstein’s tonight, with some costuming, sometimes in the form of such flair as a Greek laurel crown or a sheriff’s badge. Notably, Lorenz Hart’s nephew, Larry Hart II, was present. 

The plot is a doozy, involving two sets of long-separated identical twins (Antipholus of Ephesus and Antipholus of Syracuse and their servants, both named Dromio, also identical twins). When the pair from Syracuse come to Ephesus, a comedy of errors and mistaken identities ensues when the wives of the Ephesians, Adriana and her servant Luce, mistake the two strangers for their husbands. Love triangles unfold, and, as they say, hilarity ensues. Of course, they all live happily ever after. Actual identical twins John and Matthew Drinkwater played the lead twins (Antipholus of Syracuse and Ephesus, respectively). The handsome, strapping young men, who regularly perform with cajón and guitar as The Drinkwater Brothers, were not seen together until near the end of the show, making for a fun audience surprise. 

With all these Greek names and mistaken identities, it would be challenging to follow the plot at all were it not for the excellent narration by host Michael Portantiere. It was all pulled together by a fine cast of musical theater denizens such as the brilliant Christine Pedi of Newsical and Forbidden Broadway fame, the lovely Broadway veteran Leah Horowitz, Sara DiPasquale, soprano Katie Dixon, and the very young Megan Styrna (who got this reviewer’s attention last year in Michael Colby’s Ludlow Ladd staged reading at Urban Stages). Here are some of the highlights of this presentation:

Kenny Rahtz (as Dromio of Ephesus), a jockey-sized, rubber-faced fellow with a penchant for physical comedy, bears some resemblance to silent film star Buster Keaton. He was paired with Janet Fanale (as Luce), nearly a foot taller, as his wife, making a song like “What Can You Do with a Man” funny on its face. Ms. Fanale bears some resemblance to actress Jane Withers, and has a big voice with a tonal quality similar to Ethel Merman. Her voice brought to mind performer Klea Blackhurst—which made for another great surprise when Ms. Blackhurst herself appeared near the show’s conclusion.

One of Rodgers and Hart’s loveliest and most-recorded ballads is “Falling in Love with Love.” Leah Horowitz (as Adriana) performed it beautifully, with a regal presence. When Antipholus (John Drinkwater) of Syracuse attempts to seduce Luciana (Katie Dixon), the woman he believes is his wife’s sister, as explained by the narrator, they sing the standard “This Can’t Be Love,” another song recorded by countless artists.

The risqué “Ladies of the Evening” was sung by “consorts” Sara DiPasquale and Megan Styrna. The very funny “Come with Me” (Jay Aubrey Jones and Matthew Drinkwater) might be the first song to make the prospect of jail appealing. The song was performed with exquisite comic timing. “Big Brother” (Kenny Rahtz) was described as a “lost gem of ballads.” Mr. Rahtz gave it a sensitive reading.

The “consorts” (Leah Horowitz, Katie Dixon and Megan Styrna) returned for the delightful showstopper “Sing for Your Supper” in the tightly harmonized style of the Andrews Sisters, as originally arranged by Hugh Martin for the 1938 production. 

The punny and funny “Oh, Diogenes” could have been written with Christine Pedi in mind. The singer, well known for her vocal impressions in Forbidden Broadway, performed the song with the assistance of Michael Lavine’s and Michael Portantiere’s vocal harmonies.

The finale had the entire company on stage, with the welcome appearance of Klea Blackhurst from off stage and seemingly out of nowhere, as the cast sang a spirited reprise of “This Can’t Be Love.” The Boys of Syracuse was a well-done, one-off show with delightful performances by an excellent cast. This show, written towards the end of Rodgers and Hart’s 25-year partnership, might be due for a full revival. 

The Boys from Syracuse was performed June 16 at Feinstein’s/54 Below (254 West 54th Street, between Broadway and Eighth Avenue). www.54below.com 

Photos: Andrew Poretz & Stephen Mosher