This is a road show in the sense the that its main characters, the fabled Mizner brothers, Wilson and Addison, moved all over the place along what seems like very divergent roads to what ends up as a shared one. Here is how Sondheim puts it in his book “Look, I Made a Hat,” concerning a show that exists in three different versions: “Wise Guys,” a1998 reading, “Bounce” of 2003, my favorite, and “Road Show.” (2008), the final one,
The storied brothers started out in the small California town of Benicia, and headed from the 1880s for the world and their end in the 1930s. Here is how Sondheim puts it; “Wilson was a conman, entrepreneur and. wit, Addison was chiefly an architect. Their personalities were polar opposites, but their relationship was intense and complicated. The show charts their lives from Benicia California through their adventures in the Klondike gold fields of the 1890s to the extremes of New York City society in the early 1900s and into the Florida real estate boom and bust of the 1920s, for which they were largely responsible,”
The difference was that Wilson was a “brilliant and shifty fellow who through a colorful life was at times a goldminer, a saloon keeper, a prize fighter, a cardsharp, a conman , manager of a hotel for criminals as well as the manager of the world’s welterweight champion, a celebrated Broadway playwright, the husband of one of the richest women in America,, a raconteur known for his wit, an entrepreneur majorly [sic] responsible for the Florida real estate boom and bust of the 1920s, a drunk, a cocaine addict, a notorious womanizer, and finally a Hollywood hack and a successful one..” Conversely, the younger brother, Addison, was a closeted homosexual, a gifted If somewhat bizarre architect, think Boca Raton. Of all this you would need more than a clever musical, perhaps a television series.
Even so, Sondheim and Weidman have come up with quite a musical of some 19 winning numbers, among which my favorite is ‘The Best Thing That Ever Has Happened,” as fine a number as anything in the Sondheim catalog. It is sung in “Bounce” to a woman, but here to a man.
The show needs two splendid actors in the principal roles, and here it gets them in Raul Esparza (Wilson) and Brandon Uranowitz (Addison), both terrific in their different ways, both excellent singers. Esparza is one of America’s best actors tragically undervalued and underemployed. His Wilson moves idiosyncratically and nervously yet also gracefully with the agility of a dancer, along with crystal - clear delivery of dialogue, and his disputes with his younger brother are part of a uniquely blended natural and theatrical charm. Uranowitz, in turn, puts to good use his talent for comedy plus a childlike innocence combining jovially with adult smartness.
What both Mizners are in this version is ever so fond of their mother, beautifully played by Mary Beth Peil. Whenever either son is in trouble, he comes back home to her to be affectionately chided and straightened out. The admonitory father, earlier deceased, is nicely handled by Chuck Cooper of the commanding baritone.
The final scene is a moving effusion of brotherly love and a reminder of the show’s leitmotif, and its contrasting traversals. Wilson points ahead: “Addie,, you know what that is? It’s the road to opportunity!” To which Addison: “It’s the road to eternity. ” And Wilson sum up, “The greatest opportunity of all. Sooner or later we’re bound to get it right.”
As Will Davis directs, they’re close together, moving upstage, away from the audience as the final darkness falls. Too bad that this excellent production for Encores! as always plays only a few performances.