‘Ben Franklin in Paris’ – A Worthy Version

By Alix Cohen

1964’s Ben Franklin in Paris is an old fashioned, semi-fictional period piece: Sent to France during the American Revolution as an informal ambassador, Franklin charms the French, pursues diplomatic support, and romances an aristocratic former flame (the made-up Madame La Comtesse Diane de Vobrillac – an amalgam.)

Impresario Walter Willison once again gives us a concert version so well realized, we feel, for better or worse, like we’ve seen the show. (Several iterations of Grand Hotel preceded.) His cast of Broadway veterans not only sings well, but imbues performance with characterization – not axiomatic in this format. The splendid James Woods offers an abridged (piano) overture. Willison narrates and plays Franklin.

We hear from robust sailors on the ship landing in France. ‘The Sage of Philadelphia’ (Franklin) then explains himself to accompanying grandson, William Temple Franklin (Keaton Miller.) “I invented myself out of odds and ends (eyebrows rise) …but the damn thing works!” Willison sings, appearing surprised. Teenage Temple actually made the voyage.

Dr. Franklin has no expectations of recognition but is determined to secure funds for the Revolution.To this end, he goes to see old flame Diane who has (at least) the ear of the King.The only costumed performer, gowned/bejeweled Ann Kittredge looks
fabulous. Diane thinks her admirer is personally “Too Charming” (to trust) and that politically his is a lost cause. Glimpses of the past shine through interaction.

Someone put this woman in a musical! Kittredge has a strong, clear, controlled voice. She’s expressive- here a proud, smart, yet vulnerable patrician. “How Laughable It Is”- this musical’s “Send In the Clowns” emerges with pathos. Stuck aloft in a balloon with Franklin (Diane was asked to christen it), the actress exhibits real comic chops. “To Be Alone with You,” Franklin sings.

Playwright, courtier, political operative Pierre-Augustin Caron de Beaumarchais (a lively, earnest Keith Crowningshield) becomes Franklin’s wingman. In search of funds, the two go to a winery to trick the Spanish Ambassador (Ron Spivak, having an infectiously good time) into donating. The men get cheerfully drunk. Their song, “God Bless the Human Elbow,” is, alas, terrible.

Franklin arranges an engagement between his grandson and the Spanish Ambassador’s daughter, but the young man is besotted with actress/revolutionary, Janine Nicolet (Zoe Parrish). Parrish wields a lovely soprano, exuding spunk and genuine warmth. Miller has a marvelous resonant voice and boy-nextdoor, matinee idol looks. In fact, Temple stayed in Paris when granddad left – notably nine year later!

A scene involving 7th Viscount Lord Stormont, the British ambassador to France (Timothy Jerome- cracking!) reveals that meanwhile in the colonies, Washington is at Valley Forge and Franklin’s son William has come out as a Loyalist.(He did.) “Half the Battle” is a down-but-not-out song.

The hero decides going to England to be hanged as a martyr might galvanize American support and help the cause. Diane discovers the plan and intervenes with Louis XVI who ultimately receives him favorably recognizing the emissary as ambassador of the United States to France.

In grudging love with the Comptesse, he finally proposes (their eyes actually lock) with the lilting “Diane Is.” She’s willing to give up Paris, but not “to surrender” and ultimately refuses. A reprise of “To Be Alone with You” is sweet and sad. Franklin muses on the future of democracy.

Also featuring: Melinda Hopkins and Sheila Wormer

Historically, France began aiding the colonies before Franklin arrived, including a million-livre advance associated with Beaumarchais. Additionally, Spain had contributed and would again.

Ben Franklin in Paris was Robert Preston’s first Broadway musical after The Music Man. The creative team seemed bankable. Expectations were high. Following tryouts in Philadelphia and Boston, the piece ran for only 215 performances.

One can imagine it might have had too much exposition. Even this admirable version is somewhat weighed down by its complication and would, like the original, benefit from cutting several extraneous songs. Critics of the original complained that the plot didn’t generate enough genuine dramatic interest. Songs are a mixed bag, but many are clever, lush and/or pretty.

Direction utilizes the entire venue (a Willison signature) with cast near back booths and in front of the bar. At one point Temple and Janine dance near a door to the vestibule: “When I Dance with The Person I Love.” Actors are graceful, characters joyful.

Staging the large company’s many scenes is smooth. Performers focus, listen, and relate. Willison himself is a bit miscast, but in terrific voice. An especially appealing balance of experience, talent and mutual respect pervades the production.

Ben Franklin in Paris
By Special Arrangement with Concord Theatricals
Original Musical: Book and lyrics: Sidney Michaels
Music: Mark Sandrich Jr.
Additional Songs by Jerry Herman
Concert: Conceived/Adapted/Produced/Directed – Walter Willison
Associate Director – Joanna Rush
MD/Piano- James Woods

54Below 254 West 54th Street
Venue Calendar https://54below.org/calendar/