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Harrys first opportunity arrives when he breaks a strike by starting his own company.
Its more productive when Weidman and Cullman dig deeper into the contradictions in the musicals bones.
The shows tension lies between Bogens career ambitions and the obligations of decency and community, specifically Jewish community.
The musical, like Harry himself, is negotiating between assimilation and tradition.
Revivals that excavate darkness inherent in a classic can totally recontextualize a show (as withOklahoma!)
Its a note I wanted the production itself to take.
You see very clearly how this is the kind of role that cements a career.
(ThatFunny Girlrevival couldve kept going with Lester in the lead.)
There lie the opposite ends ofI Can Get It for You Wholesale, pulling the piece in contrary directions.
Few musicals attempt to do as much, even the ones that do get away with it.
I Can Get It for You Wholesaleis at the Classic Stage Company through December 17.
