The tour of How to Succeed in Business Without Really Trying, with Ralph Macchio

Well, a tour based on that revival played at the Fox the week of July 31st, and now I understand why the show remains such a hit. Based on a cynical comic novel by Shepherd Mead, the Pulitzer Prize-winning script (by Abe Burrows, Jack Weinstock, and Willie Gilbert, based on an earlier non-musical adaptation by the latter two) draws nearly all of its humor from satirical jabs at office politics, nepotism, managerial incompetence, petty empire-building, and other manifestations of corporate greed, stupidity, and general foolishness - manifestations that are just as prevalent in the downsized '90s as they were in the booming '60s, as demonstrated by the immense popularity of the Dilbert comic strip.

The other elements in this completely entertaining mix are: a clever (if superficial) score by Frank Loesser, one of the most musically literate composers of the post-World War II period; sharp, fast-paced direction by Des McAnuff; inventive choreography by Wayne Cilento (it was the equally inventive Bob Fosse back in '61); bright, early-60s sets and costumes; and a slick, technically flawless production design that makes ingenious use of computer-animated sets displayed on a video wall at the back of the stage.

And finally, there's a top-notch cast, headed by former child star Ralph Macchio as J. Pierpont Finch, who schemes his way to the top of the ladder at World Wide Wickets. Finch is a completely amoral character who, in the hands of a less aggressively charming actor, might begin wear thin. But Macchio brought a winsome attitude to the role, along with graceful, fluid physical comedy that reminded me of a young Jerry Lewis, but with more control and less shtick.

As Bud Frump, the obnoxious nephew of the company president, Roger Bart was also a very strong and funny stage presence, with more animation that I usually associate with the role. The same can be said of Shauna Hicks as Rosemary, Finch's much-neglected love interest, and Michael Cone in the dual roles of mailroom manager Twimble and board chairman Wally Womper. And Tina Fabrique did some dynamite Ella Fitzgerald-sytle scat singing as the otherwise staid Miss Jones in the mock spiritual, "The Brotherhood of Man".

That scat singing - along with casting a black actress in the role of Miss Jones - is an example of the minor revisions that have been made in How to Succeed in order to make it a bit more acceptable to '90s audiences, even though the show has been wisely set in its original time period (1961). Other such changes include: cutting "Cinderella Darling" (easily the most sexist song in the original, and not one of Loesser's best efforts in any case); including non-Caucasian performers in supporting roles; and staging "A Secretary is Not a Toy" in a way that implies that the secretaries are not only not toys, they're also more in control of the organization than their male bosses might think. Anyone who has ever tried to get any administrative work accomplished when the departmental secretary is sick or on vacation will appreciate the validity of this.

I could go on about all the things that make this production of How to Succeed in Business Without Really Trying a must-see (including all the other fine performances I don't have time to mention), but I'm trying to take Polonius' advice about brevity and wit these days. The bottom line, as they still say in biz-speak, is that this was a flawless revival of a masterpiece of musical satire. It's also a show that ought to be required viewing for those Congressional boneheads who seem to regard the so-called "private sector" as the epitome of the American dream, rather than a growing national nightmare.