By Marilyn Lester****Triple-threat actor Perry Ojeda possesses a quality that’s a terrific plus for a performer—he’s immensely likable. It’s the kind of quality in a fellow that mothers want for their eligible daughters (or sons). And this attribute, combined with lots of talent, is probably what helped Ojeda snag the role of Gabey in the 1998 revival of On the Town—a role he says he was humbled to win. It was this same role that began a friendship with the show’s lyricists, Betty Comden and Adolph Green (the music is by Leonard Bernstein), and ultimately the foundation for this lovingly crafted show, Just in Time: The Songs of Comden & Green.
The set list contained a number of songs from On the Town, including a robust “Lucky to Be Me” and a comic riff on “Lonely Town.” Dishing (in the nicest possible way) on the director of the revival, Ojeda described a difficult demand to break, exit offstage and re-appear to finish the tune in a different, far-off location of the Gershwin Theater. In a hilarious, surprise move, he replicated the requested action by quickly leaving the stage of Feinstein’s/54 Below, running the perimeter of the room and bounding to the stage again to complete the number. Another certifiable treat was a recreation of “New York, New York” with fellow members of the 1998 cast, Robert Montano (Ozzie) and Brad Aspel (understudy for Ozzie and Chip). The trio offered a powerful sound full of punch and plenty of charm.
With Just in Time: The Songs of Comden & Green, Ojeda delivered an engaging narrative, often funny, but also poignant, as in the retelling of Adolph Green’s 2002 death: a solo Comden, on stage at his memorial at the Shubert Theater, simply said, “It’s lonely up here.” A serious but lovely duet of “Our Private World” (On the Twentieth Century, music by Cy Coleman) with guest artist Arielle Jacobs, drove home the depth of the working partnership between the two collaborators. Significantly, Ojeda made it clear that the duo’s philosophy was steeped in optimism, a quality he drew from them and which he communicated in an upbeat, Latin-influenced “Make Someone Happy” (Do Re Mi, music by Jule Styne).
There were insights, such as the fact that “Fireworks” (Do Re Mi) was originally a duet and the sharing of another Comden and Green philosophy—taken on board by Ojeda— kindness. His rendition of “The Party’s Over” (Bells Are Ringing, music by Jule Styne) movingly addressed that all (good) things inevitably end. That Betty Comden and Adolph Green not only mentored but unforgettably touched the life of Perry Ojeda was bookended in the opening number, and reprise at the end, of “Comes Once In A Lifetime” (Subways are for Sleeping, music by Jule Styne).
The encore, like the rest of the artfully chosen song list, also summed up the experience of Ojeda and Comden and Green—the notion that there’s never time enough, sensitively delivered in “Some Other Time” (On the Town). As Ojeda himself acknowledged, it’s not easy to describe a whole life or relationship in such a limited time. But thanks to a well-written text, relevant musical choices, sincerity and charm, the essence of Betty Comden and Adolph Green—and how the pair deeply affected Ojeda—was keenly communicated and received.
Just in Time: The Songs of Comden & Green was directed by Kristen Sanderson. First-rate musical support came from music director/pianist John Daniels, Michael Herlihy on bass and Roger Cohen on drums.
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