Sleepless in Seattle: The Musical

Keeping in line with the current (and long-lasting trend) of turning movies into stage musicals, Pasadena Playhouse has launched the world-premiere of "Sleepless in Seattle: The Musical."

Based on the late Nora Ephron directed (and co-written) film, the musical adaptation is by Jeff Arch (who co-wrote the original screenplay) with music by Ben Toth and lyrics by Sam Forman, both with various credits in the theatre world. Keeping the setting in the early 1990's (the ease of the Internet would have messed the whole plot up), the story follows the film fairly closely.

Annie (Chandra Lee Schwartz) is about to be engaged to nerdy but loving Walter (Robert Mammana). It's clear she feels she is settling which is illustrated amusingly in the song "Not Like the Movies." So it's no surprise when she is smitten by a man she hears on a local radio show.

That man is Sam (Tim Martin Gleason) whose son Jonah (the amazing Joe West) has contacted a late-night call-in show to offer his Christmas Wish: he wants a new mother for his lonely dad. Affected by the touching plea, Annie mentions the incident to her friend/editor Becky (Sabrina Sloane) who immediately assigns Annie to investigate the story.

Because Annie is reluctant, Becky writes to Sam on Annie's behalf and Jonah intercepts the letter. One letter among thousands, Jonah is convinced she is "the one" and writes to her (as his dad) to accept her offer to meet her at the top of the Empire State Building on Valentine's Day eve.

As this is going on, Sam is not only overwhelmed by the response his innocent appearance on a radio show has stirred, but also he is still navigating the death of his wife a year earlier. Meanwhile, his best friend Rob (Todd Buonopane) sets him up with a woman named Victoria (Katharine Leonard), despite his not really having much of a connection with her.

The story may be about Annie and Sam finding each other, but the most affecting part of the show is the relationship between a father and son trying to survive a devastating loss. In this, the play succeeds. It also succeeds with its winning cast.

Schwartz is very charming and funny and proves to have a natural gait on stage that befits the style of the show. Gleason (most known as the man who performed the role of Raoul on Broadway more than any other actor) has that Everyman appeal that makes him a dead-ringer for Colin Firth. (Seriously, it's uncanny.)

Mammana as Walter doesn't get a lot of stage time, but he is effortless at the comedy and steals every scene he's in. And while the rest of the cast is game and able and the ensemble is all terrific, the real find here is Joe West as ten-year old Jonah. With a crystalline voice, great comedic chops, and a heart-warming demeanor, he is truly terrific in every way.

The set design by John Iacovelli is effective with two levels and a distinction between Annie's "world" and Sam's. It's a handsome looking show that could easily be seen on the Broadway stage. But that brings about the show's problems.

A musical is made or broken by its score and here, the songs are serviceable and relatively enjoyable in the moment. Unfortunately, they drift away as soon as they are done and it's impossible to remember any of the melodies once the show is over. They are sung beautifully and the lyrics are clever and well formed, but they fail in establishing a distinction between the songs that is necessary to make a musical truly soar.

Additionally, a few numbers with the ensemble seem to have been added simply to have a big group number. One in particular, "Getting Hot In Here," is sung by the ensemble who pose as patrons in a singles bar. Oddly, this is a setup for a date between Sam and Victoria, which is seemingly at a half-way decent restaurant and not a seedy singles bar.

The choreography by "So You Think You Can Dance" alum Spencer Liff is simple yet vibrant, albeit the over-use of the "crowd rush to the stage" to end a musical number grew tiresome. Costumes by Kate Bergh were appropriately '90s (without going into parody), but the numerous and unnecessary wigs used throughout were distracting.

Time will tell if this has what it takes to move to Broadway. Music-wise, I'm not sure it can compete with the greats already on stage there, even though the cast still was able to sell what they were given. That said, because of the talent on stage, it still makes for an enjoyable and entertaining evening.

"Sleepless in Seattle: The Musical" runs through June 23 at the Pasadena Playhouse, 39 South El Molino Ave., Pasadena, CA. For tickets or information, call 626-356-7529 or visit www.PasadenaPlayhouse.org.