THEATRE

NICE WORK IF YOU CAN GET IT!

     When NICE WORK IF YOU CAN GET IT! first crossed my radar on social media; a stray lyric immediately surfaced in my mind: “I like New York in June, how about you? I like a Gershwin tune, how about you?”    It is the kind of line that captures the effortless charm of George and Ira Gershwin, even if, strictly speaking, it belongs to another show entirely and does not appear here. No matter. The impulse behind it is exactly right. For anyone with an affection for the Gershwin catalogue, this 2012 jukebox musical delivers precisely what you hope for, an evening built around some of the most enduring songs ever written for the stage.

     There is something instantly evocative about the music of George and Ira Gershwin. A single lyric or melodic phrase can conjure an entire world of cocktail shakers, jazz rhythms, and bright city lights. NICE WORK IF YOU CAN GET IT! leans fully into that world, offering audiences a lively return to the Roaring Twenties, where romance, mischief, and Prohibition collide in a sparkling musical comedy.

     Originally shaped through a long and evolving development process before arriving on Broadway in 2012, this jukebox musical draws together some of the Gershwin’s’ most beloved songs into a new narrative framework. The result is not a biographical piece or a traditional book musical, but a carefully constructed showcase that allows the music to drive character and story.   Familiar standards such as “Let’s Call the Whole Thing Off,” “Someone to Watch Over Me,” and “Fascinating Rhythm” are woven into a farcical plot filled with mistaken identities, unlikely pairings, and romantic reversals. 

     Set in 1927 at the height of Prohibition, the story introduces Jimmy Winter, a charming but unreliable playboy who finds himself entangled with Billie Bendix, a pragmatic bootlegger with little patience for romance. Their meeting sets off a chain of events involving hidden gin, unexpected marriages, and a gallery of eccentric characters navigating a society obsessed with appearances while quietly indulging in excess. The tension between respectability and rebellion fuels the comedy, while the Gershwin score provides both emotional depth and irresistible energy. 

     Drury Lane Theatrical Productions brings this effervescent piece to Burlington with a cast that embraces both the comedic precision and musical demands of the material. Joshua Perry Fleming takes on the role of Jimmy Winter, capturing the character’s blend of privilege and naïve charm, while Kathryn Sears plays Billie Bendix with the grounded wit and emotional intelligence that anchors the story. Supporting them is a strong ensemble of performers, including Karyn Monk as the formidable Duchess Estonia Dulworth and Ian McKechnie as Cookie McGee, one of the bootlegging trio whose schemes help drive the plot forward. 

     Under the direction of Stacie Tiller, the production emphasizes the fast-paced rhythm of classic screwball comedy. Musical director Geoff Tiller ensures that the Gershwin score retains its distinctive swing and sophistication, while choreographer Steve Cota leans into the high-energy dance vocabulary that defines the period. Together, the creative team shapes a production that highlights both the elegance and the playful absurdity of the Jazz Age. 

     What makes NICE WORK IF YOU CAN GET IT! particularly appealing is its ability to balance nostalgia with immediacy. The world it depicts is nearly a century removed from our own, yet its themes remain familiar. The desire to reinvent oneself, the tension between social expectation and personal freedom, and the unpredictable nature of love all resonate just as strongly today. At the same time, the show never loses sight of its primary goal, which is to entertain. It is, at its core, a celebration of theatrical joy, driven by music that continues to define the American songbook. 

     Audiences can expect an evening filled with tap-dancing exuberance, sharp comedic timing, and melodies that linger long after the curtain falls. In a theatrical landscape that often leans toward the contemporary, there is a particular pleasure in revisiting the craftsmanship of the Gershwins, whose work continues to set a standard for musical storytelling. With its combination of familiar tunes, lively performances, and polished production values, NICE WORK IF YOU CAN GET IT! offers a reminder that sometimes the simplest promise is the most appealing: a good story, well told, with great music at its heart.

- Brian Morton
www.theatre-erebus.ca