Forever Plaid

The Olney Theatre is offering a musical summer treat for the eyes and ears with a return to the area of Forever Plaid (to 8/1), an homage to 40s and 50s guy groups and the eternal notion of second chances. These weren't the singers or songs I was listening to back then, though my parents were, and with "Three Coins in the Fountain" I could see that old 45 rpm record case again.

It's been two decades since this show was let loose on America and it's still going strong. (I first saw it in Chicago after it had completed a record-breaking seven-year run.) The back story is a simple one. The Plaids, on their way to pick up their tuxes, hit a big bump in the road - a busload of teenage girls off to see the Beatles on the Ed Sullivan Show in 1964. Comic Frank Gorshen wasn't the only one to die that night. In this universe, though, kismet's at work: what fate takes away, it returns with interest.

Director/Choreographer Bobby Smith who performed in the Off-Broadway production has mounted a fairly fluid and lively show (90 minutes without intermission). The book by Stuart Ross, about the return to earth for the foursomes' final gig, is slight, but the songs and hijinks along the way will leave you smiling and wanting more. There's some slowness in the beginning between numbers, but the show takes off with shtick, sight gags, and audience participation (Warning: one lucky or unlucky lady will enter Plaidland!) By the second half of the production Forever Plaid is solid gold. And with the "Caribbean Plaid" and the "Ed Sullivan" medleys, a non-stop series of delightful kitsch, you'll be completely won over.

Part of the appeal is due to the music itself: it's live. Credit the musical director Aaron Broderick at the piano, accompanied by Brandon Bickham on bass, and the multi-talented actors themselves. The show's fun also comes from the characters' development: the self-conscious, sophomoric songsters will be transformed in their music and during their night's journey, into their true selves. The performers are entertaining throughout. Ben Martin as the shy Jinx delivers an affecting falsetto ("Cry") when not suffering through nosebleeds while Dan Van Why playing Smudge drops down to a baritone (and bass for a couple of notes!) for an excellent "16 Tons," before rising to a tenor in a send-up of The King in "Rags to Riches." Patrick Thomas Cragin playing Frankie is as mild-mannered a front man as you'll ever see, lights up in performance, cavorting about the stage and cajoling his charges. Ben Lurye is the aptly named Sparky, giving tuneful turns at the mic when he's not in antic motion much to the audience's delight ("Perfidia").

Scenic designer HannaH J. Crowell continues to impress with a set that's total eye candy and otherworldly; the glittery suggestion of art deco in the interleaving marquees is worthy of the Radio City finale. Brian Engel's lighting complements her design exceptionally well and serves to transition the songs and develop the mood. Costume coordinator Jeanne Bland delivers the goods as does sound designer G.W. Rodriquez. Some of the design metaphors seem mixed - what's a sombrero doing in the Caribbean? Others seem to clash - art deco/art nouveau touches in the 50s? But then this is what The Plaids were all about: a group with contradictions, suspended, if not trapped, in time. They were in the moment forever. Doo-Wop and Rock ‘n Roll rated barely a ripple on their playlist, and Big Band was way out of their league.

If you're in the mood for some light entertainment, and who isn't these days, you won't do much better than Forever Plaid. This solid-G rated show is highly recommended for the young and young at heart. Check out Olney's website for dates and times (www.olneytheatre.org).