Off the wagon.
A Guest Review of Encores!
“THE BAND WAGON”
at New York City Center
November 8, 2014
THE BAND WAGON is an energetic celebration of the music and lyrics of Messrs. Arthur Schwartz and Howard Dietz. Based on the 1953 MGM film THE BAND WAGON, Mr. Douglas Carter Beane uses the original screenplay by Ms. Betty Comden and Mr. Adolph Green to provide a workmanlike pastiche of scenes in which to launch the songs; many of which had originally been created for the 1931 Broadway review of the same name. And what a lovely score there is, with fun numbers like “I Love Louisa,” the wistful “I Guess I’ll Have to Change My Plan,” and the intense “Dancing in the Dark” to name but a few. All are played with the flair and obvious pleasure that has come to be a hallmark of the Encores! Orchestra which is led for THE BAND WAGON by Mr. Todd Ellison. Indeed there is such a wealth of beloved songs that the couple behind me had a lovely time quietly singing along with the music onstage and I had not the heart to turn around and ask them to stop.
The plot is simple: Hollywood Screen Idol Tony Hunter is slipping at the box office and in hopes of revitalizing his career Tony has accepted the invitation of British Thespian Jeffrey Cordova to star in a new Broadway show. Tony arrives in New York only to learn to his reluctant surprise that the show is going to be a musical that Jeffrey will direct – his first musical to be precise. Adding more to Tony’s hesitation is the fact that his former friends Lily and Lester Martin – who aren’t exactly thrilled to be working with Tony again – are supposed to supply the book and score to this new production. Toss in Paul Byrd, a self-important choreographer, and his girlfriend Garielle Gerard, a former member of the Tony Hunter fan club and you know that there are going to be complications, hijinks, tantrums and spur-of-the-moment decisions of such significance before they make it to Broadway, that I wondered why they didn’t simply resort to Judy and Mickey’s barn – actually someone DOES ask that same question in the show.
The cast works very hard to flesh out the cinematic shadows they are saddled with. Mr. Brian Stokes Mitchell gives a pleasantly light performance as Tony Hunter that is in keeping with the “aw shucks” 1950’s ambiance. In fact he’s a somewhat more entertaining but slightly flawed “Father Knows Best” figure; trying to marshal his troupe to a successful first night and at the same time renew his career and inspiration. But there was very little Tony Hunter for Mr. Mitchell to work with so I took Mr. Mitchell at his word that this was his role and just enjoyed watching him try to make the best of it. Song and dance-wise he was simply delightful.
The Great British Dramatic Actor Jeffrey Cordova is a theatrical babe in the woods who is such a good sport and so eager to take up the latest half-baked idea that he would be absolutely impossible to believe as a character had not Mr. Tony Sheldon had so much fun playing him with a wink and a nudge. Jeffery is unreal, but Mr. Sheldon makes him amusingly good company.
Complementing Jeffrey Cordova is his devoted right-hand man Hal Meadows. Hal is down to earth and often keeps Jeffrey from running off the rails. As the show proceeds Hal is often the one who is there to keep things moving forward for everybody. Mr. Don Stephenson plays Hal with wonderful understatement often providing an ideal counterpoint to the more volatile “creative” people.
Speaking of volatile, Mr. Michael Berresse is the egocentric choreographer Paul Byrd. Byrd is something of the heavy of the piece – determined to have an advanced ballet produced in the show at all costs (Boo! Hiss!). Thankfully Mr. Berresse remembers that this is a MOVIE version of Broadway and NOT “A Chorus Line” and if he does not quite twirl a moustache and mutter “Curses,” he does exude a villainous single-mindedness to his plot to inflict his interminable ballet upon the public, even at the expense of the show.
It is surprising that Paul Byrd has a girlfriend as talented and idealistic as Gabrielle Gerard who clearly seems to overshadow him. There is something of a blushing “Gee Whiz” demeanor in Gabrielle that Ms. Laura Osnes makes believable. Here is a sweet and likable young lady who has something of a full story to tell us. Better still Ms. Osnes makes us root for her.
Lester Martin is another incompletely drawn character; he is there to sit at the piano and push his music while worrying about losing his wife Lily to Tony Martin. Somehow Mr. Michael McKean brings him sweetly to life and makes us care for this man who knows that his wife had settled for him after Tony left for Hollywood.
Indeed I too was in love with Ms. Tracey Ullman’s Lily Martin. Lily is not glamorous nor does she have any major dance number, but she is the most three dimensional and sympathetic of all the people trying to bring this musical to a successful Broadway opening. Here we have a successful woman who was deeply in love and only married her best friend Lester because she could not have Tony. She has to work out her feelings for both men while trying to keep the show from closing out of town. Watching Ms. Ullman’s superb portrayal of Lily, I thought, “What an amazing musical there might have been had Lily Martin been the focus of THE BAND WAGON – not Tony Hunter.”
The rest of the ensemble do their best to be believable city people and show folk, not even cracking a smile during the most ludicrous of Paul Byrd’s dance excesses.
The problem with adapting a well-known and beloved film into another form is that the original is a ghostly presence that haunts whatever new version is created. In the case of THE BAND WAGON an exorcism would have been a good idea. Mr. Douglas Carter Beane’s book does not want to risk alienating the audience who remembers the original – like the musical duo I mentioned before – but at the same time he often forgets that the speedy development of the plot points that might work in a movie may come across as incomplete onstage. Interactions that can mean a lot in close-up need more fleshing out when on a big stage. Matters that should be detailed are merely relayed to the audience in a second hand way, sometimes with minimal exposition: Who really cares about Tony Hunter and his bad movie making decisions?
Director and Choreographer Kathleen Marshal has to make the most of the uneven script but she cannot get beyond some of the moments that are staged for the sole purpose of setting a song that has no logical place in the script. She tries to interest us in these musical numbers that are often part of the Broadway bound show in a show but beloved as some of these scenes are in the movie (like “Triplets” and “Louisiana Hayride”) it might have been better just to assemble them as some sort of independent entre-act rather than waste time in a painful attempt to make them integral. Again, I have to hearken back to Mr. Beane’s adaptation. I understand that this BAND WAGON is based on Hollywood’s take on Broadway, but the creaky conventionalities (commercial entertainment versus ART, the comeback of the has-been, etc…) and the hackneyed theme of the Lester and Lily Martin’s plot for the Broadway Bound show are either a spoof or a lousy script.
Even when there are departures that seem promising, everything is firmly buried in what Mr. Beane assumes are the Hollywood conventions of the day. Mr. Beane claims the script was a tribute to Ms. Comden’s and Mr. Green’s work as a writing team. As an admirer of the duo, I had this sinking feeling that they’d have demanded a rewrite Happily when the musical numbers get going they are a lot of fun to hear and watch. Ms. Kathleen Marshal does know how to make performers move and some of the staging is memorable such as for the song “I Love Louisa.”
Mr. Derek McLane’s excellent sets and Mr. Peter Kaczorowski’s lighting followed and highlighted the action smoothly, while Mr. William Ivey Long’s costumes were very much of the 1950’s and he allowed himself a sly joke of dressing some performers in the show within the show as recognizable characters from other musicals of the era. But little point: Ms. Osnes please tuck in ALL of your hair for “Triplets” – it just spoils the point when the three babies sing about how they are all alike when one of them is sporting long flowing curls down past her shoulders. Then too in “Triplets”, Mr. Brian Ronan’s sound design is either muffling some of the lyrics or amplifying the performers’ mumbling of them – and not only in that number.
I feel like a grump writing down all these criticisms – especially as the audience seemed to be having a whale of a time. And I enjoyed THE BAND WAGON too for what it was: a pleasant diversion that entertained in spite of its story – not because of it.
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Cast & Credits
Book by Douglas Carter Beane
From the screenplay by Betty Comden and Adolph Green
Music by Arthur Schwartz
Lyrics by Howard Dietz
Based on the classic MGM film
Produced by special arrangement with Warner Bros. Theatre Ventures
Featuring The Encores! Orchestra
Guest Music Director Todd Ellison
Directed and Choreographed by Kathleen MarshallStarring Brian Stokes Mitchell, Tracey Ullman, Michael McKean, Tony Sheldon, Laura OsnesWith Michael Berresse, Don Stephenson, Lawrence Alexander, John Carroll, Joyce Chittick, Jason DePinto, Ericka Hunter, Dionna Thomas Littleton, Gavin Lodge, Erica Mansfield, Brittany Marcin, Paul McGill, Kaitlin Mesh, Jermaine R. Rembert, Brandon Rubendall, Jennifer Savelli, Eric Sciotto, Samantha Zack
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An Encores! Special Event
The Band Wagon
- Mainstage
- Nov 6 – 16, 2014
- Tickets start at $30 available here:
About the reviewer:
I am a computer programmer, wannabe writer who loves theater and just got into the habit of inflicting my theatrical opinions. I live in New York. Moshe can be reached at MB1224@aol.com
Cantor David Werdyger was an important part of that upstairs minyan. I would see him all the time and we would always exchange pleasantries as I was a friend of his son, Mordechai the famous Jewish pop singer, and we had come to know each other over the years.
