By David Gordon

When you arrive at the Walter Kerr Theatre to see “A Catered Affair,” don’t go in expecting spectacle. Nobody’s on roller skates, there are no falling chandeliers, green witches aren’t flying and the cast wasn’t hired via reality show. There isn’t even choreography – John Bucchino’s score doesn’t allow for it. This is a simple, emotionally-charged 90-minute musical by Broadway novice Bucchino and four-time Tony Award winner Harvey Fierstein.

Directed by John Doyle (known to New York audiences for his stripped-down, actors-as-musicians productions of Sondheim classics), the very quiet “Affair” is based on a screenplay by Gore Vidal (1956), which in turn, was based on a teleplay by Paddy Chayefsky. Doyle’s production this time around doesn’t consist of people accompanying themselves on the glockenspiel. It does, however, maintain his minimalist style, which works very well in the show’s favor. With a lack of props, the only thing the characters have to carry is emotional baggage.

Set in 1953, Tom (Tom Wopat) and Aggie (Faith Prince) Hurley have just returned to their Bronx tenement from a Washington, D.C. memorial service for their son, recently killed in action in Korea. Their only living child, Janey (Leslie Kritzer), who was never the favorite, is planning to marry longtime boyfriend Ralph (Matt Cavenaugh).

With government-issued bereavement check in hand, Aggie decides to throw Janey the biggest, most lavish wedding Aggie can imagine, much to Janey’s chagrin, as all she wants to do is be married at City Hall. It’s also to the annoyance of Tom, who is planning to use the check to pay for another share in the taxi medallion he splits with a few other gentlemen. Complications ensue, of course. Among other things, Uncle Winston (Fierstein), Aggie’s “confirmed bachelor” brother who is “involved” with a longtime “business partner” named Keith, is offended he won’t be invited to the civil ceremony, only open to immediate family.

It’s a very low-key musical. No show-stopping songs, as Bucchino’s score is mostly written as dialogue set to music. Bucchino has written in the Sondheim-mold. None of the songs are entirely memorable, either, (except the one that’s constantly played on the radio ad), but they are melodic and complex, with intricate lyrics. They’re haunting, as well; especially the standout number, entitled “I Stayed,” delivered by the powerful Wopat, the standout cast member.

That doesn’t mean that Wopat is the only good cast member. It’s very well acted all around but Wopat’s performance as the tortured taxi driver who just wants to make good for his family is the one you feel for most. Prince is lovely, but the character, as written, has steamrolled over everyone to give Janey everything Aggie really wanted, that you can’t feel as bad as you’d like. Kritzer has a pretty voice and strong presence; Cavenaugh is on stage so little that he barely registers.

Fierstein has crafted a tight, funny and overwhelmingly sad book that does manage to have a number of great one-liners. Perhaps the highlight is said inside a catering hall by its proprietress: “I know a fun family when I see one!”

David Gallo’s sets and Ann Hould-Ward’s costumes are period perfect. Zachary Borovay’s projections, abstract 1950s-Bronx-designs and a final tableau of Coney Island, work well on Gallo’s taupe tenement walls. Brian MacDevitt’s lighting is striking.

Any other Broadway season, a show like this would be overshadowed by huge musical behemoths. Luckily, all of those have figured out how to fizzle out this year. In effect, this teensy-tiny “Affair” has been given the otherwise unlikely opportunity to shine.

the new york times (nytimes.com)