Playwrights: Marshall Brickman, Rick Elice. At: Goodman Theatre, 170 N. Dearborn. Phone: 312-443-3800; $25-$82. Runs through: Nov. 2
Turn of the Centuryconceived and written by the creators of Jersey Boysgives a new spin to the jukebox musical comedy. At midnight on Dec. 31, 1999, pianist Billy Clark and singer Dixie Wilson are transported back to Jan. 1, 1900, their heads stuffed with all the pop, rock and Broadway music yet to come. They quickly become Tin Pan Alley musical sensations, miraculously 'writing' hit after hit. But Billy and Dixie'ålationship causes complications, as does their friendship with 12-year -old Irving Berlin. Do they regret stealing songs he hasn't written yet? Does Billy feel anything for Dixie? Will Harry Van Deusen, composer of sentimental ballads, discover their time warp secret?
When the 100-minute show ends, Dixie and Billy are ready for marriage, but it's an emotional resolution tacked on late in the show. Character development needs to start earlier and go deeper. Turn of the Century feels truncated, with little attention to secondary characters and subplots, or how Billy and Dixie return to the present. The clever and sound basic premise needs filling out.
The show offers songs by four dozen writers, from Stephen Foster to Phil Spector. The opening improbably pairs Rodgers and Hart's Where or When with Prince's 1999. But for all the quantity of music, there are few complete numbers intrinsic to character and story. Instead, song snatches make merry musical anachronisms: a vaudeville quartet does 'As Time Goes By' and scantily-clad chorus girls sing 'I Am Woman,' etc.
Turn of the Century is headlined by dazzling flexible-voiced Rachel York as Dixie and Jeff Daniels, in a good song-and-dance turn, as mercurial Billy. The supporting ensemble features Chicagoan Kevin Gudahl as Van Deusen, bringing down the house with a vaudeville expose of Billy and Dixie ( a original purpose-written number by Daryl Waters ) . Talented Rachel de Benedet and Chicagoan Rebecca Finnegan lack opportunity in supporting female roles. Their characters need musical numbers.
Dona Granata's varied costumes offer silky 1999 party clothes and 1900 homages to Edwardian black-and-white and beaded red gowns. Scenic designer Walt Spangler's deceptively simple raked stage and seamless cyclorama provide an asymmetrical playing space that defers to Natasha Katz's animated high-tech lighting that moves, dissolves and replaces traditional flown scenery.
Noah Racey borrows cakewalks, kick lines, soft-shoe, ballroom and boogaloo in choreography that pleases rather than surprises, and often seems sculptural. One wonders what director Tommy Tune's over-all influence might be. Tune always has strong ideas about shaping shows, so one assumes Turn of the Century is as he wants it right now, and that he knows precisely where he wants to take it next. This world premiere is entertaining, but it's a high concept that needs more depth.