TOE-TAPPING CLASSIC CRAZY FOR YOU DELIGHTS AUDIENCES AT GOODSPEED MUSICALs
By Kiersten Bjork (July 22, 2026)
Goodspeed’s production of the Gershwin classic Crazy For You is a high-energy, toe-tapping hit. With a book by Ken Ludwig and music and lyrics by George and Ira Gershwin, Crazy For You delivers delightful songs, phenomenal tap numbers, and a charming, heartwarming plot that will have you smiling–and singing along to the iconic tunes–as you leave the theatre.
Goodspeed associate artistic director Michael Fling directs this lovely production, with choreography by Kelli Barclay (original Broadway choreography by Susan Stroman) and music direction by Adam Souza. The team includes many of the iconic moments of choreography from the original, including the human-bass dance moment in “Slap That Bass,” and the “gold pan dance” and other wonderfully uproarious choreography in “I Got Rhythm.” Across the board, it’s truly a fun show, featuring a talented company who handle the comedic and classic material quite well.
Goodspeed’s production of the Gershwin classic Crazy For You is a high-energy, toe-tapping hit. With a book by Ken Ludwig and music and lyrics by George and Ira Gershwin, Crazy For You delivers delightful songs, phenomenal tap numbers, and a charming, heartwarming plot that will have you smiling–and singing along to the iconic tunes–as you leave the theatre.
Goodspeed associate artistic director Michael Fling directs this lovely production, with choreography by Kelli Barclay (original Broadway choreography by Susan Stroman) and music direction by Adam Souza. The team includes many of the iconic moments of choreography from the original, including the human-bass dance moment in “Slap That Bass,” and the “gold pan dance” and other wonderfully uproarious choreography in “I Got Rhythm.” Across the board, it’s truly a fun show, featuring a talented company who handle the comedic and classic material quite well.
Crazy For You follows Bobby Child, a banker who is truly a dancer with Broadway dreams, as he is sent to Deadrock, Nevada, to foreclose on a rundown theatre-turned-post office. Upon arriving, he falls head over heels in love with Polly Baker, the woman whose family owns said theatre, and thus begins the plan to save the theatre by putting up a show there. Hilarious musical hijinks ensue, set to the tune of a stellar Gershwin score, featuring hits such as “I Got Rhythm,” “Slap That Bass,” “Nice Work If You Can Get It,” and more.
I’ve had the pleasure of seeing quite a few of the Goodspeed cast members in Broadway and touring productions, and was thoroughly impressed by the company assembled to take on this Gershwin hit. Will Burton is a charming Bobby Child who is strong vocaly, but truly shines through the choreography and character work. Near the top of the second act, Burton’s rendition of “What Causes That” opposite a delightful Edward Juvier as Bela Zangler, is an absolute show-stopper. Juvier and Burton play off of each other wonderfully–stretching moments, letting the moments of silence land for themselves, using both physical and vocal choices to bring it all home–and that number had the audience in stitches from start to finish.
As Polly Baker, Brittany Zeinstra is stunning. She packs a punch with her spunk and wit, and her vocals are gorgeous. “Someone to Watch Over Me” and “But Not For Me” are breathtaking, and she certainly does the iconic “I Got Rhythm” justice.
Jeremy Davis plays Polly’s father, Everett Baker, and is positively endearing. It was fun to see him bust out an array of impressive tap moments in the larger dance numbers as well. As Bobby’s mother, Michele Ragusa is stern and over-dramatic, in just the right way.
Hailey Thomas is a sassy Irene Roth, delivering humor, fire, and sensuality, all wrapped up in one. Thomas and David Andrew Morton, a hilarious, sinister, over-the-top Lank Hawkins, are a powerhouse duo. Thomas’s “Naughty Baby” is a hit, and Morton’s comedic chops in that number, and throughout, are on full display.
I’ve had the pleasure of seeing quite a few of the Goodspeed cast members in Broadway and touring productions, and was thoroughly impressed by the company assembled to take on this Gershwin hit. Will Burton is a charming Bobby Child who is strong vocaly, but truly shines through the choreography and character work. Near the top of the second act, Burton’s rendition of “What Causes That” opposite a delightful Edward Juvier as Bela Zangler, is an absolute show-stopper. Juvier and Burton play off of each other wonderfully–stretching moments, letting the moments of silence land for themselves, using both physical and vocal choices to bring it all home–and that number had the audience in stitches from start to finish.
As Polly Baker, Brittany Zeinstra is stunning. She packs a punch with her spunk and wit, and her vocals are gorgeous. “Someone to Watch Over Me” and “But Not For Me” are breathtaking, and she certainly does the iconic “I Got Rhythm” justice.
Jeremy Davis plays Polly’s father, Everett Baker, and is positively endearing. It was fun to see him bust out an array of impressive tap moments in the larger dance numbers as well. As Bobby’s mother, Michele Ragusa is stern and over-dramatic, in just the right way.
Hailey Thomas is a sassy Irene Roth, delivering humor, fire, and sensuality, all wrapped up in one. Thomas and David Andrew Morton, a hilarious, sinister, over-the-top Lank Hawkins, are a powerhouse duo. Thomas’s “Naughty Baby” is a hit, and Morton’s comedic chops in that number, and throughout, are on full display.
Bobby’s friends, the girls from Zangler’s New York Theatre, are a lovely group, including Taylor Lane as Tess, Katie Scarlett Brunson as Patsy, Kelly Gleason as Mitzi, Claire Avakian as Louise, Kailee Regan Brandt as Betsy, and Courtney Brady as Vera. They are each excellent dancers and have some nice character moments throughout, Lane and Brunson especially.
The cowboys likewise are a talented ensemble–Bradley Gibbins-Klein as Moose, Griffin Wilkins as Pete, Brian Shimasaki Liebson as Sam, Samuel Colina as Custus, Willie Clyde Beaton II as Jimmy, and Colin Bradbury as Harry–and each shows off with different vocal, dance, or character moments. Gibbins-Klein’s Moose is a favorite, and “Slap That Bass” is a fantastic number overall.
Bradbury and Ragusa resurface in the second act as the comedic duo of Eugene and Patricia, tourists in town writing a travel piece, and they are a joy from the moment they enter. “Stiff Upper Lip” is tons of fun.
The cowboys likewise are a talented ensemble–Bradley Gibbins-Klein as Moose, Griffin Wilkins as Pete, Brian Shimasaki Liebson as Sam, Samuel Colina as Custus, Willie Clyde Beaton II as Jimmy, and Colin Bradbury as Harry–and each shows off with different vocal, dance, or character moments. Gibbins-Klein’s Moose is a favorite, and “Slap That Bass” is a fantastic number overall.
Bradbury and Ragusa resurface in the second act as the comedic duo of Eugene and Patricia, tourists in town writing a travel piece, and they are a joy from the moment they enter. “Stiff Upper Lip” is tons of fun.
Scenic design by Ann Beyersdorfer expertly brings us from the city streets of New York to the sandy streets of Nevada, utilizing upstage drops, portions of buildings with prominent signage, and all manner of furniture and set dressing to bring us into the world of the show. Beyersdorefer does a ton within the small Goodspeed space, and it works well.
Paige Seber’s lighting design builds upon the setting, crafting wonderful moments with color, particularly when the scenery is pulled away to free up the full stage space for large dance numbers.
Joseph Shrope does beautiful work as the costume designer, with the standout garments being the stunning follies-style costumes for the girls. Wig, hair, and makeup design by Mary Lee is likewise nicely done. Sound design by Jay Hilton is strong throughout.
Paige Seber’s lighting design builds upon the setting, crafting wonderful moments with color, particularly when the scenery is pulled away to free up the full stage space for large dance numbers.
Joseph Shrope does beautiful work as the costume designer, with the standout garments being the stunning follies-style costumes for the girls. Wig, hair, and makeup design by Mary Lee is likewise nicely done. Sound design by Jay Hilton is strong throughout.
Crazy For You at Goodspeed is a truly wonderful production from the very first downbeat. It will make you smile, laugh, and not doubt you’ll find yourself wanting to sing along to the classic tunes. Though most performances are sold out, I highly encourage giving the box office a call, as this is a production that you won’t want to miss.
Crazy For You plays June 19-August 9, 2026, at Goodspeed Musicals (The Goodspeed) in East Haddam, CT. Learn more and purchase tickets for upcoming performances at goodspeed.org or by calling the Box Office at (860) 873-8668.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Crazy For You plays June 19-August 9, 2026, at Goodspeed Musicals (The Goodspeed) in East Haddam, CT. Learn more and purchase tickets for upcoming performances at goodspeed.org or by calling the Box Office at (860) 873-8668.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.