A Catered Affair: An Underrated Gem

When I got down to NYC yesterday, I was pleased to discover that A Catered Affair now has a Thursday matinée. This meant that I could see two shows on Thursday, maximizing my weekend show-attendance potential. But more important, it gave me a chance to see this marvelous musical again before it closes on July 27th.

I'm not entirely clear on why the producers would change the schedule so late in the run. Perhaps the show is especially popular with the matinée crowd, which tends to skew a bit older. But since A Catered Affair was the only Broadway show with a matinée that day, the theater was pretty full, most likely with discount-ticket buyers.

As I said in my original review, I saw a very early preview, but was nonetheless captivated by the show and its quiet charms. The production seems tighter now, and the performances more rich and dimensional. The various pieces have coalesced nicely since last I saw the show, emanating more humor and greater nuance. Director John Doyle has gone out of his way to avoid pat, obvious sentiment, crafting an efficient show that tells its story with very little ornament or pretense. It's really a shame that it hasn't caught on with the broader ticket-buying audience.

The performers are a marvel to a person. Faith Prince has tempered her tendency toward excess and evinces a very modulated and moving performance, although she does tend to scoop a bit too much in her upper register. Leslie Kritzer was again a model of restraint and honesty. Matt Cavenaugh was far more three-dimensional than before. And Tom Wopat is still a crotchety wonder as the frugal father with a really slow burn. Harvey Fierstein does tend to mug a bit (well, a lot), but he does it so well that it seems churlish to object.

I do still have some minor quibbles with the show. The blocking during the "Never Stop Saying 'I Love You'" song is still inscrutable. (Why does Ralph leave Janie in the middle of the scene, walk down the fire escape, and then continue the scene from downstage right?) John Bucchino's otherwise stellar lyrics fall victim to a cliché or two, and I spotted at least one anachronism: one character refers to a potentially prosperous situation as a "win/win/win," a usage that hadn't yet been coined at the time in which the show is set.

But overall, this is a lovely little gem of a show. If you have a chance, take in one of the remaining performances of A Catered Affair. It's not a splashy blockbuster, but it is a show with a stirring score, a humorous and heartfelt book by Fierstein, and a cast-full of moving performers at the top of their game. 

Comments

[Steve On Broadway (SOB)]

Chris, When the production announced it would begin Thursday matinees (back before the Tony Awards), it was in recognition for well the show had been connecting with mature women, who tend to come out for earlier shows. Essentially, they traded the Wednesday evening performance for the one on Thursday afternoon.

So glad the two of us agree on the merits of this little gem. I'm sorry to see it depart the Broadway boards.

Happy Fourth!

[david]

I must say I agree with your comments about a Catered Affair. I am quite sad to see it didn't make it.

You should try and get as many people to see it as possible, the higher the attendance the more likely that it wont close. Check out this link for a discount: http://www.broadwaybox.com/shows/a_catered_affair_nyc_tickets.aspx if you see an usher named Lisa tell her David says hello, at this point she knows me by name (seen it 4 times)

[shonuff]

i saw this back in may, and was disappointed. the lead performances were both very strong, but i just felt that the ceiling was so much higher for this material that it felt half-baked to me. and too short. the music, while not bad, could have been a touch spritelier and the book didn't flesh the story out enough. and i was disappointed that faith prince didn't get a knock-the-house down song when she was up on the balcony.

that being said, i didn't dislike the show, but i just expected more.