‘HARMONY’: Allison Semmes (center) & cast. Photo: Julieta Cervantes.

HARMONY
Music by Barry Manilow
Book lyrics by Bruce Sussman
Directed & choreographed by Warren Carlyle
Ethel Barrymore Theatre
243 West 47th Street
(212-239-6200), www.HarmonyANewMusical.com

By David NouNou

Throughout my entire theatre-going days, I have never seen a musical or play that was as well-intentioned as the new musical Harmony. However, there is a price to pay with such well-intentioned offerings. I am sure that none of the creative team or anyone could have ever foreseen what would play out overseas on October 7, 2023. As if politics didn’t divide the country enough, the Israel/Hamas war has created divisions in this country and around the world the likes of which Jewish people haven’t encountered since the early days of the Nazi era in 1933.

Harmony begins at a concert in 1933 at Carnegie Hall in New York City where six performers, three Jewish and three non-Jewish, who were known as The Comedian Harmonists were performing. This group did exist. They were world renowned. They performed in most capitals of the world. They had recordings, were in movies, but all of their fame, music, recordings and movies were obliterated and destroyed once the Nazis took over.

We go back in time to 1927 – 1929 Berlin, when the group was being formed, their early struggles, and how they wanted their act to develop. Basically, they wanted to perform in harmony. The group was formed by Harry (Zal Owen) and consisted of Young Rabbi (Danny Kornfeld), Bobby (Sean Bell), Chopin (Blake Roman), Erich (Eric Peters) and Lesh (Steven Telsey). Their lives become more complicated when Young Rabbi who is Jewish marries a non-Jewish girl, Mary (Sierra Boggess) and Chopin who is not Jewish marries the Jewish anarchist, Ruth (Julie Benko).

There is another character, Rabbi (Chip Zien) who is both narrator and commentator of the proceedings from the rise of The Comedian Harmonists to their demise. Just as in A Beautiful Noise where there is the old Neil Diamond and the young Neil Diamond, the older character becomes more of an intrusion than propelling the story forward. The difference here is Rabbi also plays multiple small parts, with lots of schtick, assuming that is to add comic relief to the proceedings. Rabbi is also the conscience of the show; and how he stood by idly and did nothing as the events were unfolding. Could all of their lives have been spared if he insisted on staying in America instead of returning to Berlin?

Act I comes to an end with a swastika emblazoned on the back wall, and the results are grim. Act II begins in one of the most misguided and absurd openers ever conceived. It is 1934 at a performance of The New Ziegfeld Follies where Josephine Baker (Allison Semmes) is performing atop a white piano with The Comedian Harmonists as her backup singers in white tuxedos in a song entitled “We’re Goin’ Loco!” Loco indeed. This must have been Barry Manilow’s way of cheering up the audience for the devastation to come, a tribute to Lola from his hit song “Copacabana.” Only to be told by Rabbi that this was a fantasy that never really took place.

From that point on you can connect the dots of what’s to come. Again, let me reiterate, the intentions are formidable. As I am writing this review, in the background is the news on TV with what is happening at elite universities and college campuses among students and professors alike, condemning Israel for defending itself and the rise of antisemitism across the country. It’s absolutely chilling to see what happened in 1933 is happening now in 2023. I cheer and applaud Mr. Manilow and Mr. Sussman for taking such a risk in musicalizing and bringing to life The Comedian Harmonists. The score is haunting and meaningful, but the book is very heavy-handed and lugubrious and there is no way of improving it. Not even the dependable director/choreographer Warren Carlyle can alleviate the proceedings. If anything, Mr. Carlyle should have been a better editor and deleted a lot of unneeded moments.

The six voices and harmonizing of Mr. Bell, Mr. Kornfeld, Mr. Owen, Mr. Peters, Mr. Roman and Mr. Telsey as the sextet is phenomenal as are the voices of Ms. Boggess and Ms. Benko. They have all been given solid songs and they all deliver with conviction.

Chip Zien is a Broadway veteran and has extensive credits from Into the Woods and Falsettos to the recent revival of Caroline, or Change. He plays older Rabbi and also narrates the proceedings which is so unnecessary, because they are self-explanatory. He is given the 11th hour song “Threnody”. Its definition: “a wailing ode, song hymn or poem of mourning composed or performed as a memorial to a dead person.” Think of it as Cervantes singing “The Impossible Dream” from Man of La Mancha or Jean Valjean singing “Bring Him Home” from Les Misérables. You are on your feet for the delivery of the song by the artist. Here one finds oneself applauding this incredible powerful song and not the performer. He lacks the power, charm and charisma to carry such an undertaking.

Harmony is a very tough sit-through, but it is an evening that is provocative and thought- provoking only to see how history might be repeating itself.

Edited by Scott Harrah
Published November 16, 2023
Reviewed at November 14, 2023 press performance.

‘HARMONY’: Chip Zien. Photo: Julieta Cervantes.

‘HARMONY’: Julie Benko & Sierra Boggess. Photo: Adam Riemer.

‘HARMONY’: (left to right) Blake Roman, Steven Telsey, Zal Owen, Danny Kornfeld, Eric Peters & Sean Bell. Photo: Julieta Cervantes.

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‘SCHOOL OF ROCK’: (left to right) Alex Brightman, Dante Melucci & Evie Dolan. Photo: Matthew Murphy

SCHOOL OF ROCK
Book by Julian Fellowes
Music by Andrew Lloyd Webber
Lyrics by Glenn Slater
Directed by Laurence Connor
Choreographed by JoAnn M. Hunter
Winter Garden Theatre
1634 Broadway at 50th Street
(212-239-6200), www.schoolofrockthemusical.com/

By David NouNou

Having not seen the 2003 movie School of Rock and knowing very little about it (other than it was a huge hit for Jack Black) definitely gave me a leg up to enjoy this vastly entertaining musical. For me, it was seeing an original musical and it’s a rock-ass thrill. Adding to that thrill is the music by Andrew Lloyd Webber (longtime favorite) going back to his rock roots of Jesus Christ Superstar, and the book is by Julian Fellows of “Downton Abbey” fame. Who would have thought that these two “very proper” Englishmen would give us a most compelling rock musical of this generation?

Like Matilda, it is a child that tries to make sense of the outside world and fit in it. Dewey Finn (Alex Brightman) is not a little girl and certainly not a child; he is more akin to Peter Pan, the child that doesn’t want to grow up. Dewey is a misfit. He has been kicked out of his rock band; he’s despondent, and lives in the home of a former bandmate, Ned Schneebly (a substitute teacher) and his girlfriend Patty. Dewey owes them a lot of back rent. Patty has had enough of his slovenliness and wants him out, until one day a call comes for Ned and is intercepted by Dewey. The call is from staunch Principal Rosalie Mullins (Sierra Boggess) for a substitute teacher at the prestigious Horace Green Prep School. Needing money, Dewey goes for the job posing as Ned.

Dewey is confronted by children who come from privilege and overachieving parents who have no clue as to who their children are and what they can actually accomplish. This becomes a learning lesson for both. Dewey gets to learn about the kids and himself; the kids learn to abandon discipline and overcome their insecurities. He has to train them to fulfill his dream in competing in the “Battle of the Bands.” The two become co-dependent and both grow, learn and mature in the process.

I would probably say that the most daunting task in originating this musical was to find the proper Dewey. You couldn’t just bring a Jack Black imitator; you had to bring a Dewey that can make the character real for the stage. After all he is the loser. However, he has to have enough likability, charm and charisma to be able to win the audience over and root for him. This task has fallen into the hands of Alex Brightman.

I hate to use the term overnight star, because that term on Broadway is so ephemeral and overused. Mr. Brightman has paid his dues and has to his credits roles in Wicked, Big Fish, as well as Matilda. He is a person that should be noticed in the future, and come awards time next spring, he has to be recognized.

Earlier this spring, Sierra Boggess was in the abysmal musical It Shoulda Been You and previously was enchanting as Christine in Mr. Lloyd Webber’s The Phantom Of the Opera. Although she has the beautiful, haunting song “Where Did the Rock Go?” in Act II and learns to defrost, her Principal Mullins is a thankless role.

As for the children, they are all perfection and they actually play their musical instruments and are versatile performers in acting, singing and dancing. Laurence Connor, who directed the current version of Les Miserables has tapped into a much lighter venue (rock comedy) he keeps things constantly moving and never allows the children to be annoying or cloying. He respects them and gives each one of them a distinct personality and we get to know them as individuals.

In the end, it is Julian Fellows (book), Andrew Lloyd Webber (music) and Glenn Slater (lyrics) who are the real rock stars of School of Rock. Without them, we wouldn’t have had this infinitely delightful head-banger.

Edited by Scott Harrah
Published December 18, 2015
Reviewed at performance on December 17, 2015

‘SCHOOL OF ROCK’: Alex Brightman & Sierra Boggess. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: Alex Brightman & the adult ensemble. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: Alex Brightman & the kid band. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: (left to right) Evie Dolan, Alex Brightman & Brando Niederauer. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: Sierra Boggess. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: The children’s ensemble & Sierra Boggess. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: The children’s ensemble. Photo: Matthew Murphy

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BRIDE & GROOM: Sierra Boggess & David Burtka. Photo: Joan Marcus

IT SHOULDA BEEN YOU
Book & lyrics by Brian Hargrove
Music & concept by Barbara Anselmi
Directed by David Hyde Pierce
Brooks Atkinson Theatre
256 West 47th Street
(800) 653-8000
http://www.ItShouldaBeenYou.com

By Scott Harrah

We’ve seen all this before: Families of different faiths and backgrounds, coming together to witness their children getting married, and the humor of watching a day that’s supposed to be “perfect” go horribly wrong. However, in this slick, star-studded vanity project masquerading as a musical, there’s a plot twist that supposedly makes this show different from the rest. On paper, this show probably sounded great. It’s written by Brian Hargrove and directed by his partner David Hyde Pierce, and features his former “Frasier” co-stars Harriet Harris and Edward Hibbert, as well as Tyne Daly, Sierra Boggess, Lisa Howard, and others.

In reality, what we have here is your typical comedy with every stereotype imaginable. There’s the nagging Jewish mother, Judy Steinberg (Ms. Daly), overseeing the wedding of her daughter, Rebecca (Ms. Boggess), to squeaky clean Brian Howard (David Burtka). There are all the Jewish relatives, the type you’ll find on any rerun of TV’s “The Nanny,” from Uncle Morty (Adam Heller) to Aunt Sheila (Anne L. Nathan, doing what appears to be a Renee Taylor impersonation). Of course, Brian’s wealthy family members are your typical WASPs. There’s the dad Greg (Michael X. Martin), who has resorted to therapy in order to get in touch with his feelings and relate to his soon-to-be married son. Brian’s mother, Georgette (Ms. Harris, in her usual over-the-top role) is a gin-swilling lush. Meanwhile, the underappreciated sister of the bride, Jenny (Ms. Howard), feels overwhelmed with the responsibility of making all the wedding arrangements.

There is enough comic pathos in this show that “it shoulda been” a straight comedy, with no need for songs, because there is nothing memorable about Barbara Anselmi’s score and Brian Hargrove’s trite lyrics. He rhymes words like “you” and “Jew,” among others, in the musical numbers, all of which are sung well by the talented cast but do nothing to propel the story.

The performances are the most satisfying thing here. What’s amazing is how so much talent has been wasted on such a flimsy show. The most sincere performances are from Ms. Howard, bringing as much depth as possible to Jenny. Ms. Daly gives a lot of humanity to her otherwise hackneyed character. Josh Grisetti, as Jenny’s old friend Marty Kaufman, is also noteworthy. Edward Hibbert, as the fey wedding planner Albert, plays his usual role of, well, Edward Hibbert, but he gets some of the show’s biggest laughs.

The gifts of Sierra Boggess and Montego Glover (Tony nominee for Memphis) are mostly squandered on thankless roles and songs. Harriet Harris, as Georgette Howard, plays Harriet Harris as she has since her days as Bebe Glasier on “Frasier.” David Burtka is completely charmless as Brian Howard.

It Shoulda Been You tries to be many things but is ultimately just another mediocre wedding comedy. You’ll find much better ethnic jokes and nuptial-themed laughs by renting My Big Fat Greek Wedding than wasting your time with this wannabe farce.

AT THE RECEPTION: Nick Spangler & Montego Glover in ‘It Shoulda Been You.’ Photo: Joan Marcus

GIRL TALK: (left to right) Sierra Boggess, Tyne Daly, Lisa Howard & Montego Glover. Photo: Joan Marcus

TOASTING OLD ‘FRIENDS’ (left to right): Sierra Boggess, Nick Spangler, Montego Glover & David Burtka. Photo: Joan Marcus

THE SINGLE STEINBERG SISTER (left to right): Anne L. Nathan, Edward Hibbert, Adam Heller & Lisa Howard in ‘It Shoulda Been You.’ Photo: Joan Marcus

MOTHER OF THE GROOM: Harriet Harris in ‘It Shoulda Been You.’ Photo: Joan Marcus

Edited by Scott Harrah
Published April 19, 2015
Reviewed at press performance on April 18, 2015

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The newest flagship comedy web series, “What’s Your Emergency” will be premiering on January 27, directed by Michael Urie (“Ugly Betty,” Buyer & Cellar, “Partners”).  Created by and starring Ryan Spahn (Grantham & Rose and He’s Way More Famous Than You),) and Halley Feiffer (I’m Gonna Pray For You So Hard at Atlantic Theater Company, He’s Way More Famous Than You), “What’s Your Emergency” features a cast of beloved Broadway veterans including Sierra Boggess (It Shoulda Been You, The Little Mermaid, The Phantom of the Opera), Debra Monk (Curtains, Cat on a Hot Tin Roof, “Mozart in the Jungle”), and Reed Birney (I’m Gonna Pray For You So Hard, “House of Cards,” Casa Valentina) in a six-episode arc. Taking place in Hell, Michigan, the show chronicles the misadventures of the inept rescue workers of the town’s 911 call center. The show will also feature a slew of guest stars including Urie’s “Ugly Betty” costar America Ferrera, Alan Cumming, Lynn Cohen, Richard Kind, David Krumholtz, and Mike Sorrentino.

“Stage17 epitomizes the kind of creativity I want to be a part of: quick delightful escapes from the everyday, material that caters to an audience with a theatrical sensibility, and a platform that reaches everyone, anywhere,” said Michael Urie, director of ‘What’ s Your Emergency.’  “In working on ‘What’s Your Emergency,’ I found in Stage17 leadership, artistic support, and as an added bonus we had a lot of fun.  I’m excited to take this journey with Stage17 as they become a major player in the future of web based entertainment.”

Working with Broadway’s best and brightest, Stage17 produces scripted and unscripted programming that lives exclusively on the site and aggregates great content from around the web with a theatrical bent.  Stage17 also captures and licenses live theatrical performances including Broadway and Off-Broadway productions, concerts, and cabaret which will be available on-demand in 2015.

  “Stage17 is thrilled to bring a unique viewing experience of digital content to Broadway fans, whether it be captures of live stage performances or web series born from the minds of theatrical artists,” said Ondine Landa Abramson, President and Executive Producer of Stage17.  “By bringing unique entertainment sourced from the theatrical community, the diversity of content that we are able to provide viewers, all over the globe, is fresh and engaging.”

 Additional popular web series are returning with new episodes in 2015 include “Middle (St)age,” “Fan Fare,” and “Dress Up! with George B. Style.” Additional details can be found below on these specific programs and the full list of shows can be found at http://stage17.tv/collections.

Middle (St)age introduces us to the quirky and upbeat Marina, a 40-something Broadway veteran who uses her fictional vlog to chronicle the trials and tribulations of an aging ingénue… as soon as she can figure out where the “Record” button is.

 Fan Fare, hosted by SiriusXM Radio personality Julie James, reunites the cast and creatives behind beloved Broadway productions at the legendary Sardi’s Restaurant. Relive the magic of your favorite shows with the people who made them possible!

Dress Up! with George B. Style invites you to join some of Broadway’s most radiant stars as they prepare for glamorous galas and ritzy red carpets, under the guidance of celebrity stylist George Brescia (author of Change Your Clothes, Change Your Life published by Simon and Schuster) with expert fashion advice that is heartfelt, entertaining, and always en vogue.

What’s Your Emergency, produced by Stage17 in association with urmee entertainment and Soffer/Namoff Entertainment, chronicles the misadventures of the inept rescue workers of Hell, Michigan (yes, this is a real place) as they attempt to run the town’s 911 Call Center, and fail at every turn. The show is directed by Michael Urie.  “What’s Your Emergency” is executive produced by Ondine Landa Abramson, and produced by Geoff Soffer and Diana Basmajian (VP of Programming, Stage17.)

The complete cast includes: Ryan Spahn, Halley Feiffer, Reed Birney, Sierra Boggess, Debra Monk, Kevin Covert, Daoud Heidami, René Houtrides, Sekou Laidlow, Erin McCarson, and Mckean Rand.

ABOUT STAGE17

STAGE17.tv is a digital platform that bridges the gap between traditional theatre and new media. We collaborate with the best of Broadway to present new stories in new ways by curating and creating scripted and unscripted, fiction and nonfiction content. Stage17 also produces and distributes digital captures of live theatrical performances to bring Broadway and Off-Broadway to theatre fans everywhere. Stage17 was founded by Chairman David Stoller (Executive Chairman of Reach4Entertainment) and President and Executive Producer Ondine Landa Abramson.

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