‘Suds’ Weathers Wringer of New York Critics’ Scorn

For most shows, a pan by the New York Times is the kiss of death. But, after getting the thumbs down from the venerable arbiter of quality in the Big Apple, “Suds” is alive and well and packing them in--at least, on weekends--in the new Off-Broadway theater Criterion Stage Left.

“Last week, after the reviews, we were waiting to see what would happen that minute,” said Steve Gunderson, one of three co-creators and four stars of the show. “Now we’re waiting to see what’s going to happen a few months down the road.”

The New York Times wasn’t the only paper unimpressed by the play that set box office records at the Old Globe this summer. Critics for the Daily News and Newsday also wrote it off. But it wasn’t a shut-out. The New York Post, Variety and the hot new Manhattan weekly, 7 Days, all pitched in with raves.

As in San Diego, audiences here don’t seem to mind that “Suds” doesn’t answer any cosmic philosophical questions; they just slap their thighs and have a good time.

There’s more to like than ever in the New York incarnation. Not in terms of size; the stage and 399-seat theater are smaller than the show’s Old Globe venue. But, the transitions are faster and smoother. The story of sad Cindy in the Laundromat being helped by two warring guardian angels--one a career angel, the other a hopeless romantic--is clearer. And hey, you can order nachos and soft drinks at the cabaret-style tables while the sweet sound of passionately sung pop rings in your ears.

“The reviews didn’t surprise me,” said Bryan Scott, co-creator and co-producer. “We’re the kind of show that critics don’t care for. I was just surprised they didn’t acknowledge the audience.”

During previews, one enthusiastic member of the audience was Stephen McKernan, producer from New Century Productions, the company that backed the national tour of “Sleuth” that played San Diego earlier this year. McKernan arranged for “Suds” to open the new 1,200-seat Century Theatre in Toronto Nov. 7.

Will Roberson, the director, has been beating a triangular jet trail from New York to Canada to San Diego (where he oversaw a presentation by his latest brainchild, the West Coast Lyric Opera) and is now back in Toronto preparing to direct the Canadian cast of “Suds.”

The key to the fate of “Suds,” all agree, is whether the show will be able to continue to build through word of mouth. It’s drawing capacity crowds on weekends, but only half to two-thirds capacity Monday through Friday.

An informal poll of the house Tuesday night got mixed reactions, some dismissing it entirely, others finding it amusing to varying degrees. Ellie Greenwich, who co-wrote “Chapel of Love” and other ‘50s hits being used in “Suds,” had just seen it for the second time.

“I think what they did with the music was very clever,” Greenwich said. “The acting is really quite good, the characters are funny, most of the singing is dynamic. It works. I think they’re very talented people. I found this very refreshing.”

That’s just the kind of praise that vindicates the show for co-creators and performers Gunderson and Melinda Gilb who wrote the show to showcase themselves and the music.

“This is built around the songs we love,” said Gilb. “A lot of this is a tribute to those writers, many of whom don’t even own their songs anymore.” And if it doesn’t last?

“We didn’t write a show to go to New York,” said Gunderson. “We got together with our friends to fill up a San Diego Rep space.” “Of course, we’ll be disappointed if we close,” Gilb added. “But I’m satisfied just about getting here. Getting a long run would just be like getting extra extra extra Christmas presents.”

Performer Susan Mosher echoed the sentiment softly: “All our families were here opening night. Being an actor is such a scary job for your parents. To have them here seeing their kids on Broadway--that was worth it.”

A. R. (Pete) Gurney feels good about “The Cocktail Hour,” the semi-autobiographical play that debuted at the Old Globe and will open here Oct. 20 at the Promenade Theatre.

He was tinkering with the ending as late as Monday, and over a salad at theater hangout Joe Allen’s Wednesday afternoon, said he thinks he’s finally got it right. Gurney said he only wishes he were as sure about the critics who are coming to the preview show two nights before the opening, which is now the New York custom.

The reviews don’t run until the day after opening night, which gives critics more time to write.

Maybe a light musical such as “Suds” can weather bad reviews, Gurney said, but a serious play like his can’t make it without a nod from the New York Times. He said he’s grateful to have had the experience of working on a play in San Diego, where mixed and negative reviews were treated by producers at the Globe as advice rather than judgment.

“Most playwrights I know want to know how you get a play on at the Old Globe,” he said. “The Old Globe, the Seattle Repertory and the Long Wharf Theatre in New Haven are the three great bellwether theaters outside New York where you can be assured of good actors, good directors and savvy audiences.”

New York critics aren’t the only ones he worries about. His sister and brother will be in the crowd that night, but not his mother--at his request. Gurney was afraid she might be offended by the way the father in the play resembles his own, who died 10 years ago.

“I told my mother not to come. It will make her feel uncomfortable. So she decided not to come.”