A White House Cantata

 

As the nation charges headfirst into a presidential election that will undoubtedly make history in more ways than one, it seems quite apropos to revisit 1600 Pennsylvania Avenue, a failed 1976 musical by Leonard Bernstein and Alan Jay Lerner about the many different tenants of that famous address from 1800 to 1900. A scaled-down concert of the show, appropriately entitled A White House Cantata, was authorized by Bernstein's family after his death, and received a rare revival courtesy of the Collegiate Chorale last week.

Even with nearly the entire book stripped away (and replaced with projected narrative text), the concert remained thrilling and emotional. An unflinching look at both the triumphs and failings of various presidents, A White House Cantata examines America's political history through the eyes of those presidents, their wives, and their African-American servants. As Presidents and First Ladies bicker about the rights of slaves, a young black man grows up as a servant in the White House, charged by Abigail Adams with the well-being of the mansion—and, by proxy, the nation itself. (This is, of course, the famous aria "Take Care of This House," which has become somewhat of a standard for sopranos). There was plenty of uncomfortable squirming in the audience as the characters cheerfully sang about "darkies" and "fuzzies," letting us see and hear the honest attitudes of the day rather than sugarcoating it for a more politically correct appetite. (It should be duly noted, however, that at least from where this reviewer sat, the Chorale seemed to be entirely white, making some of the choral numbers for Black crowds just a little bit awkward.)  

With the full Orchestra of St. Luke's and the combined voices of the Collegiate Chorale (who were all dressed in red, white and black), Bernstein's score sounded rich and lovely, and Lerner's lyrics were in excellent hands. Robert Bass' music direction was strong and vibrant, emphasizing the genuine emotion that underlies the century covered. Roger Rees' simple and smart direction kept the energy of the piece up, and let it flow easily from comedy to poignancy and back again.

Emily Pulley shone as all of the First Ladies, and earned an extended ovation after the famous "Duet for One," in which she played both Julia Grant and Lucy Hayes watching the inauguration of Rutherford Hayes. The song is a trial for any singer, and Ms. Pulley made it her own with equal measures of wit and raw talent.  Dwayne Croft's rich and commanding voice was ideal for the Presidents, and he managed to make each man unique and individual both vocally and dramatically. Anita Johnson and Robert Mack were heartbreaking as Seena and Lud, respectively-- a young black couple living on the border between slavery and freedom. Mack's rendition of "Seena" was especially tender and lovely. As young Lud, Kalif Omari Jones was appropriately adorable, and sang with a strong voice. Roosevelt Andre Credit, who earned raves two years ago for stopping a Jerome Kern tribute cold with his "Ol' Man River," got to shine again in the small role of Henry, and Mr. Rees himself scored some comic bullseyes as a British raider of the White House.

Under the musical and artistic direction of Robert Bass and Roger Rees, respectively, The Collegiate Chorale has presented some fascinating and exciting new interpretations on classic musical theatre. Between operettas, retrospectives of Kurt Weill's music or a cantata like this, fans of musicals can always learn something new at a Collegiate Chorale concert, and can appreciate gorgeous music performed by top-notch singers and musicians. That, in and of itself, should keep them on everyone's radar.