Review: “Crazy For You” Goodspeed Opera House

Goodspeed Opera House, East Haddam, CT
www.goodspeed.org
extended through August 16, 2026
by Shera Cohen

“Crazy For You” is one of those musical reincarnations from days of old; in this case from “Girl Crazy” in the 1930’s and revived in the early 1990’s. “If you’ve seen one, you’ve seen ‘em  all,” assuredly someone must have said. In this case, repetition breeds smiles, laughs, and joy to Goodspeed’s audiences.

This work of the brothers Gershwin, strewn with at least a dozen familiar songs, deservedly became one of the 20 longest-running musicals in Broadway history by the end of its run.

The plot, such as it is, pays tribute to black & white movies. Actually, the musicals preceded the movies. Their monikers are huge, costumed dance numbers by what appear to be a cast of thousands. Most of Act I and all of Act II are populated by a cadre of townsfolk characters, initially skeptical as to why on earth would anyone come to “East Podunk,” NV for culture? In short time, they enthusiastically shout the proverbial -- let’s put a show on in the barn. Welcome to Off-off-off-Broadway with a twang.

Familiar is the boy meets girl love-at-first-sight plot. It’s so easy to lock lips when the two have a common interest; tapdancing. Will Burton (Bobby…aren’t all young men called Bobby?) is a terrific dancer who can also sing well. Brittany Zeinstra (his love interest, Polly) is an exemplary mezzo-soprano who can also tap. Burton plays a naïve and somewhat goofball lead to Zeinstra’s cowgirl with a head on her shoulders. Zeinstra’s “Someone to Watch Over Me” and “But Not for Me” show off her melodic and wispy vocal style. Burton and Zeinstra’s chemistry go beyond that of most musicals of this ilk. The audience anticipates before their first important duet, “Shall We Dance?” that these two will hit it off. 

The charm of “Crazy For You” doesn’t rest on the love-interest. There are other individuals to applaud. Edward Juvier (Bela Zangler, the erstwhile in-debt empresario), coupled with Burton, gets the most laughs in a lengthy slapstick bit. This element has the talents of Ken Ludwig written all over it. Ludwig, a prolific contemporary playwright whose forte is comedy, happens to have penned the musical’s book. Hailey Thomas and David Andrew Morton (showgirl and cowboy) squeeze every ounce of sex appeal in their stand-along number “Naughty Baby”. The piece is an unnecessary filler; it seems that the Gershwins liked it enough to make room for it anywhere. The audience is glad. 

The make-it-or-break-it bottom line for Goodspeed’s successful musicals is the compiled talents of Director, Choreographer, and Music Director. In this case, Michael Fling, Kelli Barclay, and Adam Souza, respectively, form the ideal mix of humor, pace, and creativity on a small stage for as many as 20+ dancers at any given time.

In addition to this triumvirate of skills, life on the Goodspeed stage would be lacking without costumes by Joseph Shrope. So many instant changes, colors ‘n glitter, and tap shoe steps that are easily the most important staccato instrument.

Perhaps the biggest problem for audience members at “Crazy For You” is deciding which song becomes the one stuck in their heads on the ride home.