‘BANDSTAND’: (left ro right) Joe Carroll, James Nathan Hopkins, Alex Bender, Laura Osnes, Geoff Packard, Corey Cott & Brandon J. Ellis. Photo: Jeremy Daniel

BANDSTAND
Music by Richard Oberacker
Book & lyrics by Rob Taylor & Mr. Oberacker
Directed & choreographed by Andy Blankenbuehler
Bernard B. Jacobs Theatre
242 West 45th Street
(212-239-6200), www.bandstandbroadway.com

By David NouNou

The joy of experiencing Bandstand is seeing an original musical. Not musicalizing a hit movie or an animated motion picture, Bandstand is created from scratch. The subject matter is familiar but still relevant today; it’s about soldiers returning from a war, in this case WWII, and having to rebuild their lives. They have served their country and now they are outcasts because they lost their jobs and it is a struggle to find anything.

It is 1945 and Danny Novitski (Corey Cott) has returned to his home town of Cleveland and can’t find a musical gig until he hears on the radio that there is a contest (“Tribute to the Troops”) for the best band from each of the states to compete for the grand prize in New York City. Danny is a pianist and singer forms his own swing band by enlisting five other musicians: bass (Brandon J. Ellis), drums (Joe Carroll), trumpet (James Nathan Hopkins), trombone (Alex Bender) and sax (Geoff Packard). They are all veterans who have returned from the war with their own battle scars and they all play their own musical instruments to perfection.

Danny carries the heaviest burden;he has to inform and look after the wife of his dead war buddy. Their dream was to form their band and play in New York. He eventually has to confront his problem and come to Julie Trojan’s (Laura Osnes) home who lives with her mother June Adams (Beth Leavel). Julie sings in the church choir and has a great voice, Danny implores her to join his band as the singer which she does and he ultimately has to tell her that her husband died in friendly fire.

All this may not sound new and it has a familiar feel of the old “let’s put on the greatest show” but it is put together honorably and entertainingly. The book seems contrived and you can see how things are going to fall in place. However, the score is transporting and the sound of the big band/swing era is exhilarating. Andy Blankenbuehler, who serves as both director and choreographer, has bumps along the way, where the two forms have to mesh together (in this case at times they seem to obstruct each other as a stop-and-go motion). The musical numbers are cohesive enough, but the choreography is almost forced to fit in with the context of the scene.

Laura Osnes is pure joy, she has the voice, the presence and the chops to make everything believable. Where Corey Cott floundered a few years ago in the misguided revival of Gigi, here he has honed his craft with the flair and charm of the returning soldier who makes good on a promise he made to his war buddy. The above-mentioned five musicians are expert players and actors simultaneously.

With Bandstand you may feel you’ve seen this plot before, but who cares? Among the swing music, vitality, sound, Ms. Osnes and Mr. Cott, it is an evening of sheer delight.

Edited by Scott Harrah
Published April 30, 2017
Reviewed at press performance on April 29, 2017

‘BANDSTAND’: Laura Osnes (center) & cast. Photo: Jeremy Daniel

‘BANDSTAND’: Corey Cott & Laura Osnes. Photo: Jeremy Daniel

‘BANDSTAND’: (left to right) Brandon J. Ellis, Corey Cott, Joe Carroll, James Nathan Hopkins, Alex Bender & Geoff Packard. Photo: Jeremy Daniel

‘BANDSTAND’: Corey Cott. Photo: Jeremy Daniel

‘BANDSTAND’: Laura Osnes & Beth Leavel. Photo: Jeremy Daniel

‘BANDSTAND’: The company. Photo: Jeremy Daniel

‘BANDSTAND’: Corey Cott & Laura Osnes (center) & cast. Photo: Jeremy Daniel

‘BANDSTAND’: Corey Cott & Laura Osnes (center) & cast. Photo: Jeremy Daniel

The post ‘Bandstand’: A bopping, swinging delight appeared first on StageZine.

DISNEY STAR TAKES BROADWAY: Vanessa Hudgens in ‘Gigi.’ Photo: Joan Marcus

GIGI
Book & lyrics by Alan J. Lerner
Music by Frederick Loewe
Adapted by Heidi Thomas
Based on a novel by Colette
Choreographed by Joshua Bergasse
Directed by Eric Schaeffer
Neil Simon Theatre
250 West 42nd Street
(877-250-2929), http://www.GigiOnBroadway.com

By David NouNou

Gigi came alive as a charming novella by Colette, set in Paris around 1900, about a young girl being trained to be a courtesan. A thin story that was turned into a play in 1951 with an unknown Audrey Hepburn as Gigi, and due to the phenomenal success of Lerner and Loewe’s My Fair Lady, M.G.M. commissioned them to write the book and the score to the magnificent and illustrious 1958 movie that won nine well-deserved Oscars, including one for Best Picture, and one for the brilliant direction by Vincent Minnelli. And what a superb movie that was. Then, in 1973, Alan Jay Lerner took it upon himself to do a stage adaption of this once brilliant and delightful movie and turned it into a vapid and disastrous musical flop. Dear readers, I think you know where I am going with this.

Life has been hard on Gigi, and the poor girl hasn’t aged well; not because she was training to be a courtesan, but due to the ill treatment she has gotten in her various incarnations from the hands of the creative teams that have taken it upon themselves to mangle her story. Alan Jay Lerner wounded her in 1973, but Heidi Thomas’ new adaptation has murdered her. This was once a charming lightweight story of a young girl being raised by her grandmother and tutored by her great aunt to get the best things that life and men could offer her. After all, this was Paris, and one didn’t have to worry about puritanical ideas or the politically correct and non-offensive ideologies that this current version proffers.

In this sanitized version, Gigi is a strong-minded girl who learns how to pour coffee into a cup without spilling a drop; she loves to read the gossip columns and doesn’t understand the Parisians in why they always want to make love. Here she isn’t really being trained for anything useful, not even being a good courtesan.

What was once a score that was sheer perfection, and written especially for that particular character, has now been distributed randomly for the sake of avoiding the audience any queasiness. The innocent opening number “Thank Heaven For Little Girls,” which was so charmingly sung by Honore Lachaille/Maurice Chevalier, praising young girls “growing up in the most delightful way,” has been given to Mamita (Victoria Clark), Gigi’s grandmama and Aunt Alicia (Dee Hoty), which makes no sense at all. “The Night They Invented Champagne” is now a full, tacky, tasteless production number; and one of the most expressive solo songs, “I’m Glad I’m Not Young Anymore,” which was Honores’ swan song, is now a love duet with him (Howard McGillin) and Mamita. And the missteps keep piling up. Eric Schaeffer, who in 2011 directed the best revival of Stephen Sondheim’s Follies ever, is totally at a loss here. There is no real justification or motive for what any of the characters are doing, saying or singing.

I can’t really fault any of the performances, for they were given a script to act and do what they were told. Vanessa Hudgens as Gigi starts out too all-American and perky, vestiges of her Disney days still intact, but settles in nicely in Act II. Victoria Clark’s Mamita as usual delivers the goods no matter what she is given. Corey Cott as Gaston, Gigi’s love interest, is in good voice but comes across more as a rich kid than a debonair, bored leading man. Dee Hoty is too shrill as Aunt Alicia and seems more of a caricature than a worldly woman of the world. Howard McGillin as Honore Lachaille has been stripped of any charm the character once possessed.

Poor Gigi, she has not aged in a most delightful way, and the champagne has turned to vinegar. Ending on a positive note, Catherine Zuber’s costumes are beautiful.

GAY PAREE: (left to right) Corey Cott, Vanessa Hudgens, Victoria Clark & ensemble. Photo: Joan Marcus

LA BELLE FRANCE: The ensemble of the Broadway revival ‘Gigi.’ Photo: Joan Marcus

UPDATED ‘GIGI’ MISSES THE MARK: Steffanie Leigh, Howard McGillin, Victoria Clark, Vanessa Hudgens, Corey Cott, Dee Hoty & ensemble. Photo: Joan Marcus

GIGI & GENTLEMAN: Vanessa Hudgens & Corey Cott. Photo: Joan Marcus

STEFFANIE LEIGH: As Liane d’Exelmans, dancing with ensemble in ‘Gigi.’ Photo: Joan Marcus

COLORFUL BUT MISGUIDED: A scene from ‘Gigi.’ Photo: Joan Marcus

SANITIZED ‘GIGI’ REVIVAL (left to right): Victoria Clark, Corey Cott & Vanessa Hudgens. Photo: Joan Marcus

Edited by Scott Harrah
Published April 15, 2015
Reviewed at press performance on April 14, 2015

The post ‘Gigi’ hasn’t aged ‘in the most delightful way’ appeared first on StageZine.