five-a theater review

Enter Laughing: The Musical
Written by: Joseph Stein (play), from the novel by Carl Reiner
Directed by: Stuart Ross
The York Theatre Company
St. Peters Theatre 619 Lexington Ave. New York, New York 10022
212-935-5820
By: Ashley L. Mathus

Enter Laughing: The Musical hysterically exploits David Kolowitz’s (Josh Grisetti) attempt to leave 174th Street for Broadway. Though his character is seriously lacking talent, it’s the 1930s, and Harrison Marlowe (George S. Irving) with the persuasion of his daughter (Janine LaManna), begrudgingly agrees to cast Kolowitz. Gristetti’s animated portrayal allows the audience to subconsciously follow the posted instructions, “Enter Laughing, Exit Hysterical”.

Playful impersonation facilitates Kolowitz’s nerve to audition. Not surprisingly, he imitates his theatre colleagues physically, vocally, and emotionally. Lost in the confusion of stage direction, cues, and line memorization, Kolowitz forgets average concepts, such as walking and talking simultaneously. A miserable first attempt produces the vocalization of stage directions: “Enter laughing”. Marlowe, infused with anger and alcohol, impatiently explains apparent differences. Grisetti comically trots on stage––as if a merman was learning to use his legs––only to protract laughter in multiple octaves. Success results an uproarious response to various relationships witnessed in theater. No intermission, please.

Adapting a Mel Brooks physical diction, the ensembles’ entrances are cued for audience laughter. Amidst the drama, the company echo’s Kolowitz’s distraught nature, wailing behind the scrim ignited by demonic lighting. Irving, ‘the butler’, comically sings about Kolowitz’s fantastical fortune and irresistible stature; dropping names such as Dolores Del Rio, Joan Crawford, and Betty Davis, all who seemed enthralled to shack up with ‘busy’ actor extraordinaire. Kolowitz’s traditional Jewish parents scarcely subside their barefaced opposition, equating more chaos and wardrobe mishaps. Even the live pianist succumbed, lending Kolowitz his suit only to drape a prayer shawl over his shoulders (and boxers) for the remaining musical number.

Random and timely entrances of an energetic ensemble complimented Kolowitz’s hilarious stage fright. Stereotypical stage manager, Pike (Erick Devine) has riotous corporeal entrances, frantically chasing Kolowitz behind the scrim, blatantly handing props through the wings, and barely reading lines under his breath. Enter Laughing peaks as Kolowitz’s gangly grand entrance renders catastrophic stumbling onto le stage. Wide-eyed and terrified, an immobile figure purposely stood bewildered towards the waiting audience. We played our part too, laughing at his foolish entrance, taking pleasure in falling prey to the title.


(Also look for my review on Showbusinessweekly.com, thanks!)