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On Theater: Nothing stunning, but ‘Nice Work’

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Building a new story around a score of classic numbers by George and Ira Gershwin is nothing new. When it was done back in 1951, the result was a Best Picture Oscar for “An American in Paris.”

“Nice Work If You Can Get It,” winding up its brief week’s engagement at the Segerstrom Center for the Arts this weekend, can’t compare to the Gene Kelly movie classic, but there’s plenty to chuckle at in playwright Joe DiPietro’s deft injections of Gershwin tunes into this farcical comedy set in the Prohibition era.

David Eggers, recreating Kathleen Marshall’s original direction and choreography, presses the farcical pedal to the metal as he guides an enthusiastic troupe through some comical misadventures. The show’s central love story, as usual, is usurped by some outlandish chunks of slapstick by an enthusiastic supporting cast.

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The plot revolves around Jimmy Winter (Alex Enterline), a wealthy playboy about to marry for the fourth time, who falls for brassy bootlegger Billie (Mariah MacFarlane), whose minions unload several cartons of illegal hooch into the cellar of Jimmy’s summer home — which is being turned into a showplace for the wedding.

Gershwin classics such as “Someone to Watch Over Me,” “Fascinating Rhythm,” “But Not for Me” and “Let’s Call the Whole Thing Off” are neatly intertwined with the story. Even George Gershwin’s masterpiece, “Rhapsody in Blue,” serves as bridge music to cover the scenic transitions.

The evening would be pleasant but hardly memorable except for some remarkable performances in the supporting ranks. Chief among these is Reed Campbell’s faux butler, a physical ringer for actor Richard Kind, who coordinates all the unlawful activity at the mansion.

The huge bonus among the cast members is Stephanie Harter Gilmore, who plays a fervent anti-liquor crusader named Duchess Estonia Dulworth, a decent gag in itself. Gilmore connects with the “By Strauss” paean to classical music with an operatically trained set of vocal cords, then literally swings from the chandelier after her initial introduction to demon rum.

Rachael Scarr sparkles as the intended bride, with the world’s largest train on her gown. Aaron Fried excels as the bumbling Duke, whose “title” enthralls klutzy chorine Stephanie Gandolfo, who yearns to be queen of England.

Benjamin Perez is imposing as Scarr’s senator/minister father, and Thomas Schario is fine as a dull-witted police chief. But it’s the late-arriving Barbara Weetman as Jimmy’s high-society-seasoned mother who really steals what’s left of the show, scattering some crackling political humor in her wake, along with some nifty plot twists.

Then there are the chorus girls and the vice squad, five members each, who offer some well-coordinated, high-kicking dance steps to enliven the 1920s flavor of the show. An exceptional ensemble.

“Nice Work If You Can Get It” travels the same satirically comic path as the vintage Damon Runyon movie “Stop, You’re Killing Me,” only without all the bodies. It’s an evening of fun and frenzy, laced with the unforgettable music of George and Ira Gershwin at the Segerstrom Center for the Arts.

TOM TITUS reviews local theater for the Daily Pilot.

If You Go

What: “Nice Work If You Can Get It”

Where: Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa

When: Closing performances at 7:30 p.m. Thursday and Friday, 2 and 7:30 p.m. Saturday, and 1 and 6:30 p.m. Sunday

Cost: Starts at $29

Information: (714) 556-2787 or https://www.scfta.org

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