Strike Up the Band

Last week, the wonderful MasterVoices presented the Gershwins' Strike Up the Band. In 1927, its book, about a war over cheese tariffs, was written by George F. Kaufman with a pretty satiric point of view. When that failed to sell tickets, Morrie Ryskin did a rewrite where the war was now over chocolate tariffs (and a dream sequence), the book leaned more toward romance and silly comedy, some new songs replaced some old songs, and the show was a hit.  

David Pittu, Victoria Clark, John Ellison Conlee
Photo: Toby Tenenbaum

Last week's version featured a book rewritten by Laurence Maslon (NYU arts professor) and Ted Sperling (MasterVoices conductor and director) and songs from both earlier versions. Songs included "The Man I Love" and "I've Got a Crush on You."

Strike Up the Band was a great deal of fun in terms of the book, and flat-out glorious in terms of the music and singing. Both the MasterVoices chorale and the MasterVoices orchestra soared, and the individual singers in the cast were fabulous. Perhaps my favorite part of the whole evening was a clarinet solo in the overture (reminiscent of the one at the start of Rhapsody in Blue) aced by Andrew Sterman.

MasterVoices stalwart Victoria Clark stole the show in a supporting role of a wealthy woman who wants to fix the world. She got one of the biggest laughs of the evening with a line that wasn't actually funny. And, of course, her voice was spectacular. Other impressive performers included Bryce Pinkham, Lissa deGuzman, David Pittu, John Ellison Conlee, and Shereen Ahmed. 

For information on the MasterVoices next shows and access to their new podcast, click here.  

Wendy Caster

Broadway Revival (book review)

I remember learning in my teens that George Gershwin was only 38 when he died. I felt so sorry for him, but also for me. What music died with him? Gershwin had mentioned to a friend that he had a string quartet in his head, but hadn't had time to write it down. Heart-breaking!

Author Laura Frankos shares my sense of loss, as does the lead character of her entertaining novel, Broadway Revival. It is 2070, and David Greenbaum, in mourning for his late husband, starts obsessing about Gershwin. In David's world, the brain tumor that killed Gershwin could  be cured. And, as it happens, David's brother has access to a time machine. What if ... ?

Frankos's alternate history builds on her comprehensive understanding of the time period. The book is a great read, combining wish-fulfillment with smooth story-telling. If you care about Gershwin, or the American songbook, or musical theatre, or time travel, or alternate history, this book has much to offer you.

Wendy Caster

An American in Paris

There are two sorts of lovers. (This is simplified, but bear with me.) The first focuses on one thing at a time, giving it full and lingering attention. The other is more varied, changing positions, kissing here, touching there, changing positions again. Christopher Wheeldon is the choreography equivalent of the latter. My preference is the choreography equivalent of the former.

(Note that while I saw an early preview, the show already had a run in Paris, so it's fair to assume that what I saw is what the creative team wanted me to see.)

I did not particularly enjoy An American in Paris. Although Wheeldon's dance vocabulary is impressive, and although I have adored some of his ballets, his choreography here is overbusy, constantly upstaging and distracting from itself. For example, at one point various characters are watching a delightful faux-avant-garde dance. The movements are mechanical and odd, and lovely. Wheeldon manages to be satirical and beautiful at the same time. When the other characters then start their own dance, it is actually annoying. Let me just watch one thing and enjoy it! This sort of split focus happens over and over.

Wheeldon seems to be anti-ensemble. His dancers rarely do the same thing, and certainly not for any length of time. New movements come at you like the editing in a music video, never allowing you to focus. When one number had a kick line, and a damn good one, it was fabulous to sit back and enjoy the ensemble work--which unfortunately lasted for maybe maybe six kicks. Really? It's a Broadway dance show and you can't give me a decent kick line?