Review: STRIKE UP THE BAND! at Carnegie Hall
Gershwin rarity for one night only
By: Joanna Barouch Nov. 12, 2024
It may seem to some that musicals concerning themselves with politics (looking at you, "1776" and "Hamilton") have been charting some exciting new territory. Not so. Long before either of the above mentioned shows were even a gleam in their creators' eyes, George and Ira Gershwin were inspired by political events in their time. Their first effort, the one performed at Carnegie Hall on October 29, 2024 was "Strike Up the Band." Because there were problems with the original 1927 book and consequently the songs, the show had to be re-worked. The new version was premiered in 1930 and was considered a success.
This was (mostly) the story served up at Carnegie Hall. Its inane book was largely defanged of any real politics but was tinged with a healthy dose of satire. It was re-worked yet again just for this performance by Lawrence Maslow and Ted Sperling based on the original books by George S. Kaufman and Morrie Ryskind. The music is so heavily influenced by Gilbert and Sullivan what with patter songs and musical quotes that the Gershwins, in another time, would have had to pay royalties to both British legends!At least seven musicians orchestrated this show. You could almost say “Strike Up the Band” was composed by committee.
Under the assured and steady direction of Ted Sperling, MasterVoices Chorale sang with a big, lush sound. Their diction was just about perfect, each word carefully articulated. They sang chorales (“Fletcher’s American Cheese Choral Society”) and imitation Gilbert and Sullivan (“A Typical Self-made American”) with equal aplomb and accuracy. One salient feature of this chorus is its ability to perform with a straight face. They are sincere even in absurdity. Alison Solomon's masterful and beautifully executed choreography did what dances in a musical are supposed to do: they helped to tell the story.The MasterVoices Orchestra were the unsung heroes of the evening, obviously reveling in the delightful Gershwin melodies and gorgeous arrangements. What a pleasure it was to hear a a full orchestra in all its glory.
The dialog and lyrics are as silly as anything the 20th century could think of, but the music is not. There is much gold to be mined in this show, right up there with the merely good. The title song is one of the most stirring "military" tunes in musical theater. Of course "I've Got a Crush on You" and "The Man I Love" are standard classics, firmly in the canon of the Great American Songbook. Sung and acted by outstanding soloists as varied as Victoria Clark, Shereen Ahmed, and John Ellison Conlee, this performance could easily go Main Stem. The hilarious contributions of the inestimable Christopher Fitzgerald were the highlights of the entire show.
MasterVoices has some more excellent programs in this coming season. This worthy organization will be presenting "Blind Injustice" on February 3 and 4, 2025 at the Rose Theater (Jazz at Lincoln Center). The true stories of six still-living people who were unjustly accused and wrongfully incarcerated was prepared as an opera in 2019. It promises to be a riveting evening of musical theater. On May 5, 2025, they will present "Bach Reframed: The B Minor Mass" at the Great Hall of the Cooper Union. The performance will look at the underlying sentiments of the repeating passages of the Kyrie (Lord, have mercy); and what might that mean today.
For more information, see mastervoices.org or call 646.202.9623
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