Susan Granger’s review of “How to Succeed in Business Without Really Trying” (Al Hirschfeld Theater)
Pint-sized Daniel Radcliffe is so charismatic that you can’t take your eyes off him in the vibrant new Broadway revival of the Tony Award and Pulitzer Prize-winning musical comedy – and when he teams with John Larroquette, warbling “Grand Old Ivy” and “The Brotherhood of Man,” it’s sheer magic.
With the aid of his trusty self-help manual “How to Succeed in Business,” opportunistic window washer J. Pierrepont Finch (Radcliffe) catches the attention of head honcho, J. B. Biggley (Larroquette), from whom he wangles a job in the mailroom at the World-Wide Wicket Company and cleverly works his way up the corporate ladder, outwitting the Biggley’s envious nephew, Bud Frump (Christopher J. Hanke), and adroitly avoiding the usual pitfalls en route to becoming Chairman of the Board.
Along the way, charming Ponty captivates sweet Rosemary Pilkington (Rose Hemingway), while making friends with philandering Bigley’s sexy mistress, Hedy La Rue (Tammy Blanchard).
With J.K. Rowling’s “Harry Potter” movies officially behind him, resulting in a staggering personal payday of $20-$25 million for each of the final two films, superstar Radcliffe can do whatever he wants – which is why he decided to try singing and dancing. He enjoyed his previous Manhattan foray in a 2008 revival of Peter Shaffer’s psychological drama “Equus” and is looking to expand his range, noting: “It’s important to me to prove that a child actor can go on to have a career with longevity.”
Judging by his expertise, including mastering an American accent, that should not be a problem. Even though at age 21, Radcliffe is a decade younger than previous Finches – Robert Morse (TV’s “Mad Men”) and Matthew Broderick (star of the 1995 revival) – he takes advantage of the guileless innocence of cherubic youth which somewhat softens Finch’s sly scheming and ruthless ambition.
With a score by Frank Loesser and a book by Abe Burrows, Jack Weinstock and Willie Gilbert, the 1960s satirical concept is admittedly dated, reflecting an era when men were readily promoted while women were expected to remain secretaries. Hence “A Secretary is not a Toy.” While CNN’s Anderson Cooper supplies the pre-recorded narration, neither Hemingway nor Blanchard delivers a particularly memorable performance. So it’s a terrific tour-de-force for Radcliffe and Larroquette.
Under the astute direction of choreographer Rob Ashford – with Derek McLane’s modular sets, Catherine Zuber’s whimsical costumes, Doug Besterman’s lush orchestrations and Howell Brinkley’s lighting – it’s bright, bouncy and lots of fun.