Japanese Theatre (Tut books : D)

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When the landlord threatens to kick them out, she is so desperate that the crazy plans of an impresario Steve Rosen, a dead ringer to play Jon Lovitz's younger brother to turn her little girl into a star actually seems like a good idea. All their friends in tenement become part of Kiki's team -- the failed singer is her vocal coach, the cabbie drives Kiki around and so on. Kiki soon becomes a star, but everyone is so afraid of upsetting their meal ticket that Kiki becomes a spoiled brat.

Well, not quite. We're always aware she's just doing what any kid might do if indulged and that Kiki really just wants to be treated like the little girl she is. The first act is silly fun, with strong numbers like the opener "You Gotta Listen" and "Love Love Love" Rosen's high point good counterpoints to Kiki's trilling. After establishing this nutty, screwball of a premise, they end the act with the arrival of the father back from America -- a strong-voiced Louis Hobson.

All well and good Suddenly, Kiki is being tarted up on stage Lolita-fashion, the grandmother with a stroke always an awkward presence during the first act becomes the target of Kiki's taunts and brutal sacrifices must be made to rescue the child. When did this silly and unassuming musical comedy decide high drama was the way to go? The creative team should strongly rethink the entire second half of the show and be guided by the delightfully daffy performance of Colella, which should set the tone for the entire musical. Lonny Price is the main driving force behind this.

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He co-directed and co-wrote the books and lyrics. The result is an absolutely original and winning character saddled with heavy tragedy. Let Kiki be Kiki! You know how someone else's high school reunion is a lot more fun for them than it could ever be for you? That's the overriding feeling of Greenwood , a show about a musical theater summer camp and the kids who had a really, really great time there and can't shake the feeling as adults that it was the highlight of their lives.

The entire cast is game but it's the kids who come off best. They're at summer camp and having fun and their dialogue isn't nearly as burdened with earnest psycho-babble as the adults. Bryan Welnicki also does his best with the awkward vocal lines and even more awkward lyrics of the would-be inspirational tune "Wings Of Fire.

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He also brings an unhappy edge to Daniel that foreshadows one of the show's more melodramatic subplots. That's about it, I fear. The adult storyline -- 25 years later, they reunite to stage a revival of their triumphant final summer show -- overwhelms the kids, who soon fall into the background. With lines like "we're not reviving a show, we're reviving ourselves" and lyrics like "The me that I was plus the me that I am equals the me that I want to be" or "I'd rather have myself than have it all" are just too much to overcome.

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It's a sign of how poorly constructed Greenwood is that you spend most of the first act trying to figure out which adult characters are the grown-up versions of which younger ones, something that can presumably be worked out with some good staging by director and choreographer Paul Stancato. But then, there's a lot to work on. It doesn't feel right to give a rating to this staged reading of a new musical comedy. It's worth imagining since the two leads are handsome and charismatic and are joined by a very funny Stephanie Torns as the gal needed to sex up their act.

She drives a wedge between these two best friends with her hunger for stardom.

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Check out this recording of the title track where Gene Underwood convinces Don they need some gams in their fading tap dance act to make it big. The show breezes along nicely, with the old-fashioned aura nicely counterbalanced by the fact that Don is clearly in love with Gene, who is not so clearly in love with Debbie he sleeps with her just to prove he's a "man" but sure misses his pal when they separate. And that's where I lost the ability to see how the show would come across. A little gay humor goes a long way, so Don's unrequited love for Gene should only be used for one or two laughs early on, not so many more that they pull us out of the era.

Plus, the funniest number in the show combines lyrics from the two leads' solos into one number to raunchy effect. It would be a shame to lose it but it too yanks you out of the period mood they've so effectively created.

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But it would be nicer to see Donna more actively helping Gene. Maybe it should be more obvious to us that Gene is gay but just doesn't know it yet. That would also give Don a chance to be smarter and wiser and more patient, rather than just hapless and pushed around. Finally, Debbie's meanest move is to convince Don to leave the act so Gene can have a shot at Hollywood stardom.

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But heck, Don might have done that on his own if he'd felt he was holding Gene back. So the enjoyably hiss-able Debbie needs even more villainy to let us hate her. Keeping all that in mind, the book and lyrics by Peter Charles Morris and the music by David Caldwell already can boast a solid accomplishment in creating a breezy world, three distinctive characters and a clutch of good songs.

If only it were more fun. Gerard Alessandrini is rightly famous for his Forbidden Broadway revue.

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Here he tackles a new musical, co-writing the book, music and lyrics with Robert Hetzel. Grammar and Mechanics Identify and use complex sentences. Word Work Place words in alphabetical order. Think, Collaborate, Discuss Promote higher-order thinking for small groups or whole class.

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