By John Hatzis · Perspectives Editor
Thrilling, nihilistic, boisterous and raunchy, “How to Succeed in Business Without Really Trying,” while definitively not for the whole family, promises a fun, rowdy time for adult viewers.
Although opening night has passed, the remaining performances of the Betsy Craig-directed production are at 7 p.m. Thursday, Friday and Saturday in Pew Fine Arts Center Ketler Auditorium.
Decked out with classy, 1950s-esque costumes, “How to Succeed” takes a darkly comic look at the toxic, immoral workplace culture of New York City business life.
On stage, no hedonistic desire is given short shrift: workplace affairs, sexual harassment, blackmail, alcoholism, caffeine addiction, foul language, blasphemy, seduction, smoking, envy, nepotism and manipulation dominate the show as the ensemble attempts to ruthlessly climb the corporate ladder.
Whole musical numbers are dedicated to overt objectification and sexualization, and these numbers are exceedingly drawn out. The “A Secretary is Not a Toy” scene clocks in at nearly ten minutes; that number alone is enough to encourage professors to leave the kids (of any age) at home.
Shining through the sex-crazed and power-obsessed culture of the World Wide Wicket is William Mueller’s endearing J. Pierpont Finch.
Finch is guided to the top by the book “How to Succeed in Business Without Really Trying,” admirably voiced by Christopher Corbin. Corbin thrives as the story’s narrator; he perfectly times his interludes and gives Finch comfort and sage wisdom.
In every scene, Mueller’s bowtie-wearing Finch shines with a radiant glow. Viewers quickly come to love Finch and only grow to love him more as Jesse Richardson’s sweet, driven Rosemary tries (though notably, in the end, fails) to break through Finch’s lust for power.
Finch subserviates the base desires that enslave the ensemble to his unbridled ambition. For all his faults, Finch’s ambition makes him slightly more morally upright than most of the cast.
Mueller nails the leading role: his choral experience allows him to glide through the difficult music with ease, his flexible movements give him a youthful spirit that contrasts sharply with his rigid coworkers, and his earnest head tilts endear him to the audience.
The audience almost forgets (but only almost) that Finch is only kind to us because we are not in his way. If we were in any way between him and his idol of success, the coveted position of chairman of the board, he would swiftly mobilize to have us terminated.
Richardson, as always, nails her performance as Rosemary with pitch-perfect vocals and confident delivery.
Caroline Clegg compellingly leads an ensemble cast of secretaries who twirl around Rosemary and cheer on her corporate romance. In “Been a Long Day,” Clegg wonderfully plays the wingwoman while Mueller and Richardson thrive as awkward romantic partners. The number is a high point of the show.
Zach Kappel once again hits a performing home run as Biggley, the oafish president of World Wide Wicket.
Biggley has a lot on his plate: he hates his wife, hates his nephew and perpetually fires advertising chiefs, all while hiding his affair with a company secretary. Kappel hilariously illustrates Biggley’s rising stress level throughout the show — his noises and outbursts do just as much to build his character as his lines.
Kappel’s overburdened Biggley and Mueller’s enthusiastic Finch enjoy great comedic chemistry; “Old Ivy,” where Biggley reminisces about his Alma Mater (and Finch plays along), is one of the show’s standout moments.
Making his premiere as a villain, Timothy Heiser journeys beyond his usual romantic typecast into the extremely irritating nepo-hire Bud Frump. President Biggley’s nephew, Heiser’s Frump competes with Finch every step of the way for power.
Heiser nails Frump’s insufferable character voice and teeth-grinding mannerisms. I really could not stand him by the show’s conclusion.
But Reilly Martin’s Hedy LaRue absolutely steals the show in “How to Succeed.” From the moment she struts onto World Wide Wicket headquarters, Martin commands the stage with her thick accent and impeccable comedic timing. Martin and Kappel frequently scored the biggest laughs with their undercover, sappy romance.
Greta Paulding flourishes as the show’s projection designer, securing the show’s most memorable moment with Finch’s advertising presentation in Act II.
The Grove City cast excels in “How to Succeed” with flying colors. The story’s subversive narrative gives me pause; “How to Succeed” fails to distinguish between its protagonist and its antagonist in any meaningful way.
Take away the cute music, and you find Finch is just as maniacal, cruel and self-absorbed as Frump, only with a less irritating voice.
The success of the World Wide Wicket company is built on the untold suffering of the women who have pledged their lives to their unloyal, work-obsessed husbands. President Biggley frequently mocks and curses at his wife; the musical never cares to introduce us to her.
Rosemary is relegated in the final scenes to a sideshow, a rubber stamp for Finch’s dreams. She will be “keeping his dinner warm” for the rest of her life.
In one of the show’s saddest ironies, its penultimate song, “Brotherhood of Man,” is revealed to be yet another power play by the manipulative Finch to ascend to chairman of the board. Finch’s call for unity immediately precedes his firing spree. His harkening to noble ideals rings hollow. Attentive viewers will notice the Finch we leave at the end is much more wicked, vicious and underhanded than the Finch we started with.
While hilarious throughout, this adaptation of “How to Succeed” leans more toward dark than comedy. Do not be fooled by the music or admirable performances into thinking the World Wide Wicket corporation is one where anyone loves anything or anyone.
“The Company Way” is nothing more than a “cold, corporate setup,” and the cast ensemble closes the show reaffirming their slavish loyalty to it. After all, “The Company Way” allows for sexual affairs, booze and unlimited coffee. And, according to the ensemble, it gets them away from their wives.
