Stop the World, I Want to Get Off

By LISA D. HOROWITZ

Taped by Clairol on Broadway at the Cherry County Playhouse, Muskegon, Mich. Producers, Neil Rosen, Jim McGinn; director, David Stern; book, music and lyrics , Leslie Bricusse, Anthony Newley; stage director/choreographer, Bill Castellino.
 
Cast: Peter Scolari, Stephanie Zimbalist, Sharen Camille, Leanna Polk, Ellen Harvey, Heather Hoppus, Caryn E. Kaplan, Paige Price, Melanie Taylor, Christopher Legg.
 

Orchestra: Ken Brown, Ed Clifford, Bruce Curlette, Dan DeVries, Kathleen Gomez, David Hall, Kyle Root, Tucker Supplee.

In its press material for this filmed musical, cabler A&E cites a 1962 Variety review of the original Broadway production:" 'Stop the World' is a British beatnik version of 'How to Succeed in Business WithoutReally Trying.'" However, the rest of the sentence, omitted from A&E's quotation, is, "in a somewhat disconcerting undergraduate style." The creative team behind the current production brings nothing new to the show to alter that original opinion.

Perhaps the current success of the revived "How to Succeed" encouraged A&E to tackle "Stop the World." But where the former revival is a hit in part because it's staged with a modern look and the latest in stagecraft, this "Stop the World" is so determinedly old-fashioned and low-budget that it's almost painful. (Of course, the Pulitzer Prize-winning "How to Succeed" is also simply a better show.)

Casting is also a problem here. Although he gives a valiant effort, Peter Scolari doesn't have the singing voice to carry an entire show, which is exactly what he's expected to do. As the various women in his life, co-star Stephanie Zimbalist sings less and fares better when she does, but oddly, of the four accents she puts on -- British, Russian, German and American -- the worst is the last, a "Noo Yawk" squawk that's totally unconvincing.

Scolari is Littlechap, an Everyman character who rises from factory tea boy to knighted Member of Parliament. A social climber who cheats on his wife and feels burdened by his children, Littlechap is far from a sympathetic character.

Picaresque, sketchy tale follows his rise, interrupted occasionally (when the going gets tough) by Littlechap shouting, "Stop the world!"-- actually the play -- and addressing the audience. These asides are the only insight into the character; while revealing, they aren't sufficient to humanize him.

But at least Littlechap has some definition; as his wife, Evie, Zimbalist is given no characteristics of her own (apart from remarkable fecundity); she is merely a symbol of Littlechap's desires and fears.

Show's best-known song is "Once in a Lifetime," which Anthony Newley made his own after creating the role in London. Unfortunately, it comes late in the show, when Scolari's singing voice is giving out. Scolari fares better on the clever patter songs, such as "Mumbo Jumbo," when he's on the stump for his seat in Parliament. Poor staging undercuts the impact of another popular tune, "Gonna Build a Mountain": Scolari and the chorus inexplicably perform the first half of this toe-tapping, gospel-flavored song sitting down, rather than dancing.

Production was filmed in front of a live audience, which adds little; both staging (by Bill Castellino) and TV direction (by David Stern) are unimaginative at best. Costumes by Dale DiBernardo are ugly; J.C. Howe's set design is functional but uninspired. Lighting design by Paul Miller is effective.

Musical director, Steven Smith; musical coordinator, Jeff Rizzo; assistant director, Annette Jolles; sets, J.C. Howe; costumes, Dale DiBernardo; lighting, Paul Miller; sound, Arnie Bruinsma. Originally produced on Broadway by David Merrick. 2 HOURS