Although it is generally thought of as one of Cole Porter's weaker efforts, 1953's Can-Can show racked up almost 900 performances in its initial Broadway outing. And the bad rep is certainly not owing to Porter's score, which includes such standards as "C'est Magnifique," "Allez-Vous-En," "It's All Right with Me," and "I Love Paris." No, it is the Abe Burrows book that is the heavy in the case. Burrows' tale of the unlikely affair in late 19th-century Paris between a tough businesswomen, whose nightclub features the then-illegal can-can, and the humorless judge who would enforce the law and close her down is remembered as stodgy and practically unplayable. Well, Michael Brindisi and his gifted gang at the Chanhassen Dinner Theaters put the lie to that perception with this delightful production.
Brindisi hasn't cut or rearranged the script. He has merely directed his leading players in an emotionally connected, believable relationship, cast the comic roles around them with fresh, bright talents, added some exciting dances for the limber ensemble by Michael Matthew Ferrell, and come up with a package that demonstrates the continued viability of this infrequently-produced show. (The Chanhassen production is actually an area premiere, 46 years after it first bloomed on Broadway.)
Keith Rice brings a powerful voice and true leading-man authority to Judge Aristide Forestiere, plus an underlying sense of humor that takes the stodgy edge off the character.
Although Michelle Barber lacks the essential earthiness that would make Pistache a real contrast to Aristide, rather than an inevitable soul partner, she is a fine actress, a handsome presence, and a truly excellent singer who makes the role work on her own terms. Scott Blackburn brings an original comic imagination to the inept sculptor Boris (he even has trouble pronouncing his own multi-syllabic name), and sprightly Jillian Lee is charming in the role that first brought Gwen Verdon to public attention. David Anthony Brinkley, as the inevitable roue, makes "Come Along with Me" into a show-stopper, and Mark King, Tony Vierling and Jay Albright uphold the comic artist franchise.
Nayna Ramey has designed a handsomely atmospheric unit set, and the bright period costumes by Sandra Nei Schulte provide the requisite sparkle. Can-Can lives on, and other theaters might do well to consider it for their musical seasons.
