Lee Meriwether, better known as Miss America, Catwoman, Betty Jones, or Ruth Martin on “All My Children’’ - depending on your era of choice - is likable as the devil-may-care Mame Dennis. But the title character, as portrayed in film by Rosalind Russell and on Broadway by Angela Lansbury, is written as a crusty, worldly, and off-kilter broad who finds herself suddenly saddled with a 10-year-old nephew after her buttoned-down brother passes away. She’s the walking definition of a spitfire, always the life of the party, and a bundle of can-do, gin-soaked energy and kookiness. She also has an incredible and unlikely chemistry with her nephew that fuels the funny and moving story.
Meriwether exudes little of these attributes, particularly the edgy confidence. Indeed, she seems almost timid in the role and happy to slip into the background, which could be a result of her unfamiliarity with the part. At a recent matinee, she forgot the opening lyrics to “We Need a Little Christmas’’ (you could hear the words being sung offstage for her), she missed several lines, called the beloved nephew the wrong name, and flapped and shuffled through dance routines in a way that indicated she was not quite dress-rehearsal ready.
The weakest of the musical’s numbers are those that fall on Meriwether’s shoulders, and it isn’t until the second act that chemistry begins to emerge between Mame and her perpetually hung-over best friend, Vera Charles (gamely played by Maryann Zschau). All of this is unfortunate, as the production includes strong performances elsewhere. Dedham seventh-grader Troy Costa plays Mame’s nephew, Patrick, with a subtlety not often seen in child actors. Maureen Brennan, a seasoned actress and faculty member at Boston Conservatory, perfectly captures the spirit of lovably awkward nanny/secretary Agnes Gooch. Even poor Kai Chao, who is saddled with playing the hopelessly outdated and uncomfortably stereotypical Chinese butler, seems to have fun with his cringe-worthy role.
But it is difficult to escape from the show’s biggest failing. In Meriwether’s hands, a character of boundless energy and sassy retorts simply feels too genteel for much of the story to make sense. At a barn dance where Mame should out-dance and out-sing a group of teenagers, Meriwether attempts some singing and dancing, then spends most of the number sitting behind the company members as they once again push the story along. Susan Chebookjian’s choreography is ambitious and often quite successful, giving the production a lively kick.
Where Meriwether feels more comfortable with the material - the number “My Best Girl,’’ for example - you can see occasional glimpses of Mame. But what this production needs is a title character who is truly leading the action as opposed to following her castmates through the motions.
Christopher Muther can be reached at muther@globe.com.
