HARMONY IS A MUST-SEE
I absolutely recommend Harmony, which made a transfer from Off-Broadway to Broadway after being tinkered with for years. Composer Barry Manilow and librettist/lyricist Bruce Sussman’s entertaining, surprisingly melancholic new musical depicts the real-life story of the all-male singing ensemble, the Comedian Harmonists. With buttery, close harmonies, an excellent cast, and Warren Carlyle‘s fluid direction and choreography, this unusually dichotomous musical lovingly follows the Interwar Period boy band through their formation in the late 1920s to the peak of their international stardom circa 1934, and then their sharp demise resulting from the fascist censorship of the Nazi regime. Each member will be pulled in his own direction for the sake of survival and self-preservation.
Blake Roman, Steven Telsey, Zal Owen, Danny Kornfeld,
Eric Peters, Sean Bell (Julieta Cervantes)
I can’t remember the last time I have been so emotional watching a new musical — and one with some wonky problems that could’ve and should’ve been fixed after it premiered at the National Yiddish Theatre Folksbiene. Yes, it’s an imperfect musical, so I won’t bury that lede. But it’s so damn heartfelt and heartrending, universal and entertaining — all wrapped up in a lovely and loving production — that I say, see it while you can as I simply cannot tell you if this unorthodox musical will have a long run or not. I hope it does. Its argument against those who do not rise up against fascism (from the right or the left in these divided times) is a message that needs to be heard daily.
Hailing from Germany, the Comedian Harmonists rose to fame toward the end of the Weimar era as the burgeoning Nazi Party loomed over Deutschland. Their pleasant harmonics, good looks, and charismatic, cheeky performance style was surely a welcome antidote for the distraction-seeking audiences who were in the midst of wide-spread economic depression (and their recreated act at the Barrymore Theatre will cheer you up as well). Since little is left of their recordings and films, this musical triumphantly displays what we all missed: the first act is rife with numbers that recreate the Harmonists’ style. Manilow’s music is both reminiscent of this vocal group while being breathtakingly original for a musical. His arrangements, both vocal (with Music Director John O’Neill) and orchestral, also manage to be immediately alluring and reminiscent of the Weimar era.
Chip Zien
For the most part, Sussman’s lyrics and uniquely structured book — crafted like a memory play — are entertaining and emotionally moving. While the lyrics are far better than the average Broadway show, with perfect rhymes no less, some lack the intelligence and wit we associate with the Comedian Harmonists. Luckily, Sussman fixed many of the book’s problems that plagued the production I saw at L.A.’s Ahmanson Theatre in 2014. His decision here to go with a bell-shaped plot that starts and ends on an introspective note remains smartly refreshing. He avoids false enthusiasm that most traditional musicals try to pass off as art, and instead focuses on the beauty to be found in honesty and realism, which rarely co-exists with Musical Theater.
Manilow’s lovingly crafted score, a major draw, is a well-balanced mix of modern and period elements marked by his signature style. Some numbers are fun and catchy, some are beautiful plays on traditional Hebrew music, and others are compelling torch songs. O’Neill and his amazing orchestra, situated upstage, sound amazing executing Doug Walters‘ smart orchestrations.
Julie Benko
I applaud Harmony as it captures the group’s journey in two contrasting acts. The first is an old-school styled, lushly produced Rogers and Hart-esque American musical full of hope, love, friendship, humor, catchy music, and a touch of slapstick (although devastation is foreshadowed throughout). The storyline is dominated by dark plot turns in Act II. Bravery and solidarity in the face of adversity is pitted against loss and fear. Harmony tackles tough socio-political issues of the day — economic disenfranchisement, senseless anti-Semitism, cultural censorship, mass complacency (sound familar?; some things never change) — through an undeniably sad narrative. The production ends on a somber, bittersweet note that stands in stark contrast to its earlier homage to the optimism-laden musical theater themes of the 1930s. Harmony is about truth, and proudly reminds us how hatred, greed and inaction lead to horrible leaders (again, sound familiar?).
Steven Telsey, Blake Roman, Danny Kornfeld, Chip Zien,
Eric Peters, Sean Bell, Zal Owen (Julieta Cervantes)
Playing the Comedian Harmonists are: Danny Kornfield, whose amazing performance and wonderful voice as baritone Roman “Rabbi” Cykowski are most memorable; Zal Owen, loveable and loony as tenor buffo Harry Frommerman, who formed the group; Steven Telsey, with on-point comedic timing and sweet, earnest charm as Ari “Lesh” Leshnikoff; Eric Peters who can damn well sing all night in a solo show about tenor Erich Collin and I would be first in line — what a gorgeously strong tenor; Blake Roman, who gets one of the best ballads of the night, “In This World,” and my god what a voice; and Sean Bell, whose powerful, deep-bellied bass as Bobby Biberti adds rich consonance. They blanket the audience in tonal warmth and complex coloring while delivering blazingly energized performances. Thanks to the actors and Sussman’s well-drawn roles it’s easy to tell these distinct characters apart. Each triple-threat member sings beautifully and acts brightly, while fostering a tight-knit chemistry that reinforces the bonds shared by the men they portray.
Julie Benko and Sierra Boggess (Adam Riemer)
And lucky you, who get to see Sierra Boggess as Mary and Julie Benko as Ruth, the wives of Rabbi and Chopin. They are incredible actresses and passionate and powerful vocalists, blending hauntingly well on “Where You Go,” a ballad that underscores being in a mixed marriage (Jew and gentile). Boggess is simply amazing: she never overplays the drama and her vocals put a songbird to shame. Benko, who retains the humor and drama that made her outstanding in Funny Girl, is perfect as the protesting self-proclaimed “Jew bitch.”
Steven Telsey, Sean Bell, Blake Roman, Danny Kornfeld,
Zal Owen, and Eric Peters (Julieta Cervantes)
National treasure Chip Zien plays our narrator, Rabbi as an older man, with endearing warmth and boundless effervescence. He eschews that clichéd cheery, old-Jewish guy stereotype with a deeply focused sincerity and gleaming stage presence. Zien also plays Richard Strauss and Albert Einstein, a device that reminds us we are reliving the scenario through Rabbi’s brain, a conceit that also helps to add levity to the sad tale (Zien’s portrayal of Marlene Dietrich, which I thought was a hoot, has been cut). And sadly what was NOT cut was Zien’s 11 o’clock number “Threnody,” a wailing lament that should have been a tearjerker, but ends up overwrought and lands with a thud.
Allison Semmes as Josephine Baker and the Company (Julieta Cervantes)
Set designer Beowulf Borritt worked wonders with a set of panels on which batwin + robins’ effective multimedia put us on a moving train or backstage at Carnegie Hall. Vintage aesthetics influence Linda Cho & Ricky Lurie’s faithful costume design (the imposing outfit of a Nazi Standartenführer is a work of art). Carlyle’s broad, classic, and flirtatious choreography bring to life a Copacabana-esque nightclub act, in which Allison Semmes shines as Josephine Baker. You will be treated to several gorgeously executed dramatic moments cloaked in 1930s’ Hollywood-style spectacle numbers, aided by Jules Fisher + Peggy Eisenhauer’s sumptuous light design.
I suppose Harmony may have its detractors — those who scoff, “I come to the theater to forget my troubles.” Don’t listen to them. It is so very easy to fall in love with this musical.
Harmony
Barrymore Theatre
ends on February 4, 2024
for tickets, visit Harmony
