How To Succeed In Business Without Really Trying has a Solid Cast with Daring Choreography
It’s cool to see Broadway classics for the first time, and the added San Diego flair usually makes these experiences more interesting.
San Diego Musical Theatre starts the year strong with How To Succeed In Business Without Really Trying, a 1961 musical by Frank Loesser and book by Abe Burrows, Jack Weinstock, and Willie Gilbert, based on Shepherd Mead‘s 1952 book of the same name.
J. Pierrepont Finch (Frankie Errington) is a young and ambitious window cleaner. He comes across a pocket handbook instructing precisely how to succeed in business without really trying. The fact that the creatives took Shepherd Mead’s book to this level and then a movie adaptation came almost seven years later is already hilarious…
A deep, broadcast voice accompanies each chapter “Ponty” reads, courtesy of Jordan Gray’s sound. The first step is to look for a job, and then start putting the book lessons into practice. Ponty lands at World Wide Wicket Company, where J.B. Biggley (Robert J. Townsend) is the president. After one of the secretaries at WWW, Rosemary Pilkington’s (Jasmine January) initial help, Ponty, now going by Finch, F-i-n-c-h, climbs up the corporate ladder fast. But gravity takes effect, and what goes up must come down.
The Kearny Mesa-based company went all out with a hefty cast of 20 performers and lively, pumped-up choreography by Xavier J. Bush. Omri Schein directs the actors through naughty, pun-filled dialogue, striking a balance between the sixties’ machismo/patriarchy and comedic relief. With the added layers of dance and song, Richard Dueñez Morrison’s musical direction comes in hand in hand with Bush’s choreo, turning out to be a rounded, landed, vibrant production. Schein and Dueñez teamed up again since 2025’s Jekyll & Hyde, proving to be a good duo for musical productions. Even though it is long, very long, the piece has that vintage Broadway show vibe that makes it enjoyable and fun.
Patricia Lutz’s costumes illustrated the sixties, corporate office look, with its pinnacle in the song Paris Original.
The musical reminded me so much of the series Mad Men up to a point that I thought the TV drama might have been based on the musical, but no, just a fun fact with Robert Morse, who starred in the original Broadway musical and 1967 film version, being cast as Bert Cooper in Mad Men. So, there you go.
After this brief parenthesis, and continuing with SDMT, Mike Buckley’s set was peppy, with two elevators where the action mostly centered. Sammy Webster’s lighting came through with a pop, like new ideas, with Gray’s sound accompanying every task, solo, and conclusion.
I have said it before when reviewing SDMT productions, and I will say it again: There is no weak link in this cast. Each and every member brings it. Highlighting their strengths and also aligning them as an ensemble:
Frankie Errington, as the driven, climbing Ponty, is hilarious, even making the character “likable” in the song titled “How to Succeed…,” while portraying his shenanigans. They have good timing when delivering puns, nice sass, a rhythmic choreography while singing, and a good, solid voice. Some lines slipped during the opening night, but that’s normal for first performances, and it did not affect the overall presentation. Jasmine January portrayed a sweet, smart Rosemary with great vocals and intention, had a good rapport with Frankie, and let the audience in while singing “Happy to Keep His Dinner Warm” and “I Believe in You.”
Robert J. Townsend, as the crocheting double-timer Biggley, is a joy to watch with great projection and good comedy.
Going with the musical’s theme here, if there is a manual or something like it that defines a company debut, the blurb and picture would feature Autumn Kirkpatrick as Hedy LaRue. Coming in like a whirlwind with a strong presence, laugh-inducing scenes, and a tremendous voice. Kirkpatrick and Sasha Weiss, as Smitty, stole various moments in the performance, leaving audiences cackling nonstop. Weiss commanded the timing in each of her participations, delivered punctually and then some. Sandy Campbell, in this ongoing histrionic rollercoaster, had me crying (and cursing a little bit) with Sally in Follies, asking questions and gasping with Maria Callas in Master Class, and now, celebrating and laughing with Miss Jones as the office confidant and practically second in command, performing great and commanding steps with lifts and pizzazz. Zane Camacho truly embodied the nepo Bud Frump, with the right dose of spoiled and saboteur, while singing great vocals. I enjoyed Cody Bianchi’s Mr. Bratt, as it showcased more of his histrionic and comedic chops, culminating in dance and song. Cameron Blankenship also had memorable scenes as the grabby Mr. Gatch, with great humorous ability, physicality, and, I think, Daniel Volkart’s wigs, which added to the character. Eliott Goretsky was merry as both Mr Twimble & Mr. Wally Womper, alluding to the aspiration and nostalgia while imprinting his essence.
Additional cast members include Sam Castillo, Brice Daniel, Abby DePuy, Katie Flores, Megan Kuramoto-Tafolla, Mikaela Rae Macias, Sarah Smudz, Joe Stein, and Kylie Young.
Again, each member brought their strengths and made for a good, solid company.
I loved seeing Mikaela in her SDMT debut and in this role! She is also understudying Finch. Katie has a beautiful, melodic voice, and I look forward to seeing more of her work, as well as Kylie’s, who has performed on many San Diego stages.
Although How To Succeed In Business Without Really Trying is making fun of it all, it is, in fact, a photograph of that office/corporate “Godín” (as we say in Spanish) experience, where men took authority to a different level. It serves as a good reminder of how far we’ve come and how far we still need to go, while fitting in some laughs.
SDMT is also debuting a new seating dynamic that gave me a little bit of claustrophobia. The setting does feel more like an auditorium/theatre, but it might be a good idea to envision some aisles in case of an emergency, and to improve flow.
Check it out for yourself, dear reader. Currently playing until March 1.
The Stage Manager is Shirley Johnston. And you know I love me a good stroll before and/ or after the show. SDMT has a lovely list of restaurants in the area you can check out.
