This show stands as David Yazbek’s greatest achievement, an unpretentious but hilarious piece that well and truly launched the career of one of Broadway’s greatest stars. The story, based on the Michael Caine-Steve Martin movie of the same name, while perhaps a bit too similar to The Producers, was one of the best comedic plots of its time even before it was augmented with songs, extraordinarily funny and full of real surprises. Yazbek’s score is his finest to date: the ballads, particularly “Nothing Is Too Wonderful to Be True”, are very pleasant, but is it in the comedy numbers that the piece truly shines. “Great Big Stuff”, “Chimp In a Suit”, “Oklahoma”, “All About Ruprecht”, and “Ruffhousin’ Mit Shuffhousin” all rank with the finest comedy numbers of the decade. But in the end, what everyone remembers most was the cast. Joanna Gleason offered her hilarious trademark style of line delivery, and paired beautifully with the gloriously deadpan Greg Jbara. John Lithgow and his successor Jonathan Pryce brought out two very different sides of the character Caine played in the movie, with Pryce’s roguish take being perhaps a little stronger, but Lithgow’s softer, more human version has something to be said for it, too. Sherie Renee Scott brought a genuine tenderness and joy to her naïve, life-affirming character (or did she?). But I know that when you heard me say ‘cast’, you were all thinking the same thing. Well, I saw Norbert Leo Butz in this role, and yes, he was every bit as amazing as everyone said, blowing every number he sang out of the water and giving quite possibly the funniest star turn of the decade. As a composition, the show is above average, but it was the performers who elevated it into one of the finest shows of the decade.