Offbeat Musical Gets Seriously Silly

The creators of “Crazy Words, Crazy Tunes” describe their show as “the musical that answers the question, ‘Does the Chewing Gum Lose Its Flavor on the Bedpost Overnight?’ ”

As producer Edmund Gaynes explained, the show, which opens Tuesday for a two-week run at the Westwood Playhouse, showcases many of the wackiest songs of the 1920s, ‘30s and ‘40s. We’re not talking Noel Coward here, said Gaynes, although some of the songs are sophisticated in their own fashion. What we’re talking about are such zany evergreens as “Mairzy Doats” and such all-but-forgotten silly songs as “If I Give Up My Saxophone, Will You Come Back to Me?”

Gaynes said “Crazy Words, Crazy Tunes,” which premiered in August, 1992, at the Center Stage in Woodland Hills, is Los Angeles’ longest running local musical. For some time, Gaynes was convinced it was the community’s longest-running local play of any kind, but that honor, he learned, goes to “Zombie Attack,” which rises from the dead once a week at the Cast Theater in Hollywood.

“Crazy Words” is a tribute to novelty songs, all those goofy ditties in which singing simians go on honeymoons and little lambs eat ivy. The show features different categories of nutty songs, including tunes about musical instruments (who can forget “To Hear Veronica Play Her Harmonica on the Pier in Santa Monica”?). Some of the compositions feature famous names, such as “When Henry Ford Apologized to Me.” There are songs about places, including “Emma Louise from Old Los Angeles.” And, of course, there are all those crazy food songs that children sing until their parents want to throttle them, from “One Meatball!” to a little-known gem with enormous juvenile appeal called “The Prune Song.”

“What’s that vegetable song?” Gaynes asked his wife, Pamela Hall, during a recent rehearsal. Hall, who not only directs the show but also performs in it, promptly sang a few bars of “When Banana Skins Are Falling, I’ll Come Skidding Back to You.” Vegetables, fruits--with novelty songs who’s making distinctions?

A shorter version of the show was created a decade ago by writer and Magic Castle owner Milton Larsen for his downtown Variety Arts Center. It was later expanded by arranger Gene Casey, Gaynes and Hall. The musical has been running at Gaynes and Hall’s West End Theater in Van Nuys until it closed recently to prepare for its Westside premiere.

Like many other directors of small local theaters, Gaynes is dismayed by how difficult it is to attract audiences. Most of the time, it is only the giant theaters that are able to fill their seats, he said, largely because they are the only ones who can afford to advertise. This despite the fact that small houses often offer innovative programming at modest prices.

As an example, Gaynes recalled how the comedy-magic team of Penn & Teller received rave reviews a decade ago when the then little-known pair were playing at a tiny venue in Sherman Oaks. At the same time, illusionist David Copperfield was getting panned at the Pantages. Even after a local drama critic suggested that audiences forget Copperfield and check out this bizarre act out in the Valley, Gaynes said, “Copperfield continued to gross $250,000 a week and Penn & Teller continued to gross $800 a week.” Go figure.

Both of the Valley theaters where “Crazy Words, Crazy Tunes” appeared were tiny, with fewer than 100 seats. The Westwood Playhouse seats 500. “We’re enjoying being back in a big theater again,” said Gaynes, who acted in a dozen Broadway and off-Broadway shows. Hall’s Broadway credits include playing Philia in the Phil Silvers revival of “A Funny Thing Happened on the Way to the Forum.” Her West Coast appearances include roles in “Sondheim--A Musical Tribute” and Sondheim’s “Marry Me a Little.”

Nostalgia has been cited as the principal reason audiences like “Crazy Words, Crazy Tunes,” but Gaynes and Hall think that’s only a small part of its appeal. “Most of the people who come to see the show are too young to remember these songs,” Gaynes pointed out. He thinks the real draw is that the production is very, very funny--which may account for its popularity with children. “It’s pure entertainment,” he said.

Although this show is no “Timon of Athens,” it does have at least one thing in common with Shakespearean drama. The director’s first and most pressing challenge is to make sure that the audience understands what the performers are saying or, in this case, singing. “Diction and intelligibility is a priority,” he said. “If you don’t understand the words, you don’t get the jokes!”

The Westwood Playhouse is at 10886 Le Conte Ave . in Los Angeles, across from the UCLA campus. The shows continues through Jan. 23. All tickets are $20. For information, call (310) 208-5454.