'FINIAN' S RAINBOW' IS PURE GOLD

NEW YORK (Oct. 30)-- “Finian’s Rainbow” first opened on Broadway in 1947, the same year as “Brigadoon.” America was clearly in a fairy-tale mood, eager to find solace from the rigors of World War II. The latter show is about two Manhattanites who stumble on an 18th-century village in the wilds of Scotland, which only comes to life every 100 years. They take refuge there from the anxieties of the contemporary world.In its own, fairy-tale way, “Finian’s,” a revival of which opened last night at the St. James Theater, is more realistic. The title character is an Irish immigrant to America. He has brought a stolen pot of gold, which he expects to grow if he plants it in the vicinity of Fort Knox. It has a love story – Finian’s daughter Sharon falls in love with the freewheeling, handsome American tobacco farmer Woody. It has more than a touch of whimsy in a plot about Og, the leprechaun from whom Finian stole the gold.But what makes the book by E.Y. “Yip” Harburg and Fred Saidy of more than passing interest is that it engages the issue of racism at the very beginning of the Civil Rights movement. It has a racist senator who – through leprechaun magic -- is turned black. In the last few decades the satire of racism has made “Finian’s” an awkward show to revive, more because of touchy contemporary political sensitivities than the plot itself, which gets hearty laughs from its treatment of hypocrisy.Last spring “New York City Center Encores!” revived “Finian’s,” in the hope that it might transfer to Broadway as have others of its revivals, such as “Wonderful Town,” “Gypsy” and, most notably, “Chicago,” which at 13 years and going strong, is the longest-running revival in Broadway history. (When Encores! first announced “Finian’s,” I was surprised that they were doing such a familiar show. But I understood why when I read an interview with the leading man, who said until he was cast he had never even heard of it.)The glory of “Finian’s” is its score, with music by Burton Lane and lyrics by the aforementioned Yip Harburg. It contains one of the greatest of Broadway ballads, “Old Devil Moon,” as well as the wistful “How Are Things in Glocca Morra?” and the lilting “Look to the Rainbow.” Another of its standards is the zesty “If This Isn’t Love.” It has great comic numbers and, because the chorus consists of black sharecroppers, some great songs in an African-American mode -- the spiritual-like “That Great Come-and-Get-It Day” and the Gospel-style “Necessity.” (A mixed race cast was itself a major breakthrough.)The best thing about the revival is its treatment of the powerful score. The original orchestrations, by Robert Russell Bennett and Don Walker, have been left unscathed, with all 24 players alive and kicking in the pit. That the producers have opted to hire the full complement of musicians, rather than cut the score down, is laudable by today’s Broadway standard. Plus, the music is splendidly conducted by Rob Berman.Sixty years ago it was standard for every show to have a full chorus. The audience apparently expected quite a lot when it ponied up $6.90 for an orchestra seat. Here the choral writing is especially beautiful – and sung by the 12-member chorus with great resilience. The revival has been beautifully cast. As Finian we have Jim Norton, whom New Yorkers are used to seeing in much weightier Irish drama. His intelligence and grace keep the role from descending into easy sentimentality. As his daughter Sharon, Kate Baldwin could not be more endearing. Her suitor is the dashing Cheyenne Jackson. One might wish they had heavier voices, but they sing with feeling and style. Christopher Fitzgerald is a wonderfully impish, passionate Og, getting every bit of humor out of “When I’m Not Near the Girl I Love, I Love the Girl I’m Near.” Chuck Cooper plays the racist senator-turn-black and brings a deep bass voice and comic brio to “The Begat.” Terri White, whose voice is similarly resounding, quite simply brings the house down with “Necessity.” As Susan the Silent, a character mute from birth, Alina Faye executes director/choreographer Warren Carlyle’s basic but elegant steps with aplomb.“Finian’s Rainbow” is one of the American musical theaters’ great triumphs. The revival is loving, radiant and musically thrilling.