By William Wolf

THE BAND WAGON  Send This Review to a Friend

The silliest thing to have done in seeing the New York City Center Encores! Special Event production of “The Band Wagon” was to compare it to the film, which was in a class by itself. Film and theater are two different mediums. Fred Astaire did it on stage in 1931 and later was an icon in the screen version. What a stage revival needed was a powerful singer in the leading male role and Brian Stokes Mitchell absolutely filled the bill grandly in the elaborate concert version (November 8 -16, 2014).

Those who saw the production at City Center were treated to a highly entertaining, smartly staged show offering sheer pleasure, thanks to the music by Arthur Schwartz, lyrics by Howard Dietz, book by Douglas Carter Beane based on the screenplay by Betty Comden and Adolph Green and the handiwork of all concerned. Direction and choreography was by Kathleen Marshall, with Todd Ellison as Guest Music Director of the Encores! Orchestra, pared for the occasion but nonetheless strong. The overture touching on some of the terrific songs established the right mood at the outset.

Mitchell was appealing in the role of Tony Hunter, a movie star whose reputation has faded and who comes to Broadway in the hope of re-burnishing his reputation. The intended show, initially imagined in a “Faust” mode under the direction of Jeffrey Cordova, colorfully and often hilariously played by Tony Sheldon, is a mess. Paul Byrd, an egotistical choreographer acted accordingly by Michael Berresse, wants to give the musical called “The Band Wagon” a creatively dark edge. His girlfriend, Gabrielle Gerard, portrayed by Laura Osnes, is to have the female lead, and will, of course, fall for Tony, who ultimately will return the favor.

All of the aforementioned were in good form, and the show was given a great boost by Tracey Ullman as lyricist Lily Martin and Michael McKean as composer Lester Martin, a warring couple, with Ullman handling plenty of wisecracks in the Comden-Green manner, in addition to some deft singing solo in “I Still Look at You That Way” and teaming with McKean on “Something to Remember You By” and “Sweet Music.”

Mitchell was a delight to hear singing “When You’re Far Away from New York Town,” aided by the Ensemble, “By Myself,” “A Rainy Day” with charming Laura Osnes, and “I Guess I’ll Have to Change My Plan” with Tony Sheldon,” as well as in combination cast numbers, such as “A Shine on Your Shoes” and the memorable “That’s Entertainment.” And as a bonus, Mitchell got to do a bit of tap dancing, no Astaire, but with his own flair.

One of the most enjoyable numbers was “Triplets,” a favorite from the film with the stars signing while dressed as babies. The feat could be pulled off with the magic of cinema, but on stage there was the extra challenge of making it look real, and it worked with fresh hilarity as Mitchell, Osnes and Sheldon teamed to do the honors. Other major songs that lent themselves to pleasurable treatment included “You and the Night and the Music,” “I Love Louisa,” “New Sun in the Sky,” “Louisiana Hayride” and “Dancing in the Dark.”

The talented women in the ensemble were strikingly dressed (William Ivy Long was Costume Consultant) and the sparse but effective scenery (Derek McLane was Scenic Consultant) made me wonder why intrinsically substantial shows sometimes need elaborate, ultra expensive sets other than to make audiences feel they are getting value for the high prices they are paying. At New York City Center, 131 West 55th Street, 212-581-1212. Reviewed November 18, 2014.

  

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