BWW Reviews: GEORGE GERSHWIN ALONE at The Alley Is Pimped Out Piano Perfection

Today when we think of pop music, names such as Drake, One Direction, and Fetty Wap come to mind. Of course, I don't want to take anything from the new generation of artists but there was something magical about the days of Tin Pan Alley. Great names like Irving Berlin, Hoagy Carmichael and The Gershwin Brothers adorned the halls of New York's West 28th St. Hits such as "Embraceable You," "Judy" and "Easy to Love" were the songs that flooded the airways. This was the music that made up the Great American Songbook.

Growing up listening to a vast array of music, my ear fell in love with the classics and one particular song entitled "Summertime" touched my heart and ears. The Gershwin's music is a staple in the history of American music, and I was ecstatic to see the Alley Theatre's production of GEORGE GERSHWIN ALONE.

Most music fans never get the opportunity to get to know the artists and the true passion behind their art. GEORGE GERSHWIN ALONE gives the audience a backstage pass to the life of one of America's greatest and most complicated composers. From being inspired by a violin while playing stick ball to his byzantine relationships with women, we see a side of the musical genius outside of his works. Gershwin started as a "Piano Pimp" on the Great White Way and worked his way up through the ranks.

This piece might be new to some, but it has a gypsy spirit that has gone from Broadway to the West End and now to the Bayou City. I have to admit, doing a one-man show is a daunting task. But to do it while singing and playing the piano takes the cake. For 90 minutes, we were introduced to George Gershwin as played by Hershey Felder. Felder has a ghostly resemblance to George and he physically embodies the character from start to finish. Born to Russian immigrants, Gershwin didn't come out the womb tickling the ivories. He began to play as a teenager and acquired technique through the years.

Many pictures of George Gershwin show a man who seems to be deep in thought and serious. In this production, we were introduced to the jovial artist with a wonderful sense of humor. Felder's piano skills were the highlight of the show. Watching him play the piano, sing and act was a testament to God-given talent. We usually hear musical theatre artists bragging on being a triple threat, but Felder is what I consider a multi-threat. Felder wrote the script in addition to performing it. Talk about a man wearing many hats!

I was fascinated by his Ethel Merman characterization while singing "I Got Rhythm," as well as his spot-on accent as he spoke to the audience about his Russian immigrant parents. There wasn't a dead moment in this piece, but how can you go wrong when the soundtrack includes some of the best melodies ever written? Chronicling George Gershwin's tumultuous career, we understand the ups and downs of show business and how theatre critics and Gershwin were like oil and water. George and Ira were musical anomalies and couldn't be put in a box. From composing show tunes to concertos to operas, the extent of George's music was limitless and critics did not know how to handle such talent.

Upon entering the theatre, we see a grand piano center stage with black and white posters from Gershwin shows. Projections and pictures of Al Jolson and posters from PORGY & BESS aided in the storytelling. The set design by Yael Pardess was simple, eloquent and fit the production from scene to scene. The direction by Joel Zwick was clever and very organic.

Ending the evening with a beautiful virtuoso arrangement of "Rhapsody in Blue," Felder expertly grips the heart of the audience with every key and musical nuance. This is by far a great night at the theatre.

After watching this show I had to ask myself, what was it that I had witnessed? Was it a concert, a cabaret, a play with music or a one-man musical? No matter what phylum this piece falls under, it is the epitome of the spirit of George Gershwin, a musical gumbo with all the right fixins! However, I would have to say that the music was its saving grace. The biggest issue I had with this piece was the book. I felt that it was weak and generally lacking in a few areas. In today's advanced technological era, it is easy to read a bio on Google as well as read quotes and essays about popular artists. Gershwin was an artist who was deemed untrained by many and lacking in panache. Being an avid fan of the man and the music, I wanted to see a story or a side of the character that I hadn't yet read or written research papers on. An artist is conflicted by life's circumstances, and the voyeuristic theater-goer wants to see someone who's fighting within his skin. Other than his death, there wasn't a defining moment that abetted the denouement. The overall story lacked depth.

There is no denying the creative prowess of Hershey Felder and his undying commitment to this piece. George Gershwin was an artist that defied all boundaries and refused to be marginalized or categorized by his cohorts. In the show Gershwin said, "I shouldn't compose to prove a point, but to hang out my imagination for everyone to see." If you are a budding artist trying to find your place in this chaotic and judgmental world called the theatre, I highly suggest you research and learn more about George Gershwin. He has taught me to live as an original and not die a copy. This is proof positive for the way George Gershwin lived his life. At the tender age of 38 he passed away from a brain tumor and the music world was stunned and devastated. Gershwin had a clever and eclectic approach to composition which left a mark on the music world forever. From Fantasia, Ahrens & Flaherty to Michael Bublé, the musical genius that we call Gershwin will forever be in our hearts and ears. If this piece comes through Houston again, you must get a ticket and witness the genius of George Gershwin and the spine-tingling talent of Hershey Felder.

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