Susan Granger’s review of “Tootsie” (Marquis Theatre)
I had my doubts about anyone filling Dustin Hoffman’s heels as struggling actor Michael Dorsey-turned-Dorothy Michaels but I was wrong. Santino Fontana is sensational in the deceptive dual-rule.
Working from a satirically playful script by Robert Horn, set to David Yazbek’s jazzy score, director Scott Ellis has cleverly re-imagined Larry Gelbart and Murray Shisgal’s subversive 1982 screenplay, updating its farcical concept with razor-sharp timing, energetic pacing and smartass feminist dynamics.
In this version, narcissistic, self-defeating Michael Dorsey (Santino Fontana) is persona-non-grata in New York theater. So when his neurotic, co-dependent ex Sandy (Sarah Stiles) mentions that the Nurse role in an absurd Shakespearean musical called “Juliet’s Curse” has suddenly become available, Michael goes to the audition in drag, introducing himself as Dorothy Michaels.
Persuasive Dorothy not only lands the part but also wins the respect/admiration of millionaire producer Rita Marshall (Julie Halston) and the heart of hunky Max Van Horn (John Behlmann), a sublimely stupid reality-TV “Bachelor” star who plays Romeo’s brother Craig.
Michael’s only friend/confidante is his wannabe playwright roommate Jeff (Andy Grotelueschen), who tartly questions his judgment: “At a time when women are literally clutching their power back from between the legs of men, you have the audacity to take a job away from one by perpetrating one?”
Dealing with egocentric director/choreographer Ron Carlisle (Ron Rogers), who loathes troublesome, outspoken Michael Dorsey, is another matter. And further complications arise when Dorothy/Michael is romantically attracted to unsuspecting Julie Nichols (Lilli Cooper), who plays Juliet.
To prepare for playing two entirely different characters, Santana Fontana, whose biggest previous role was the Prince in “Rogers and Hammerstein’s Cinderella,” had his chest and legs waxed, along with adjusting to Spanx, pantyhose, kitten heels and mastering a flawless falsetto.
Fontana’s meticulous transformation is miraculous, making dowdy Dorothy “assertive, but not bitchy, compassionate, but not emotional.”
All the supporting players are superb: hilarious Sarah Stiles, droll Andy Grotelueschen, irascible Ron Rogers, genial Julie Halston, funny John Behlmann, lilting Lilli Cooper, and acerbic Michael McGrath as Michael’s exasperated agent.
Credit David Rockwell for effective scenic design, Donald Holder for supportive lighting, Denis Jones for choreography, William Ivey Long for costumes and Paul Huntley for hair and wigs.
Treat yourself – “Tootsie” has an open-ended run at Broadway’s Marquis Theater.