'Gershwin Sings Gershwin' at Stoneham Theatre

Starring Alexis Gershwin

Stoneham Theatre, July 27-30, 2006

Musical Director, Steven Applegate

The Gershwin Singers: Megan McLanan, Cindy Martin, Alistair Tober

Orchestra:

Lou Cristofani, piano; Dave Hollender, bass; Jeff Stout, trumpet, flugelhorn; John Baboian, guitar; Jim Lattini, drums; Bill Carmichael, saxophone, reeds

 

The Stoneham Theatre presented the East Coast Premier of Alexis Gershwin in Gershwin Sings Gershwin for five performances this past weekend.  The personal tribute to the music of her uncles George and Ira Gershwin also featured the Gershwin Singers and Orchestra.

 

From the opening song "S'Wonderful" to "A Foggy Day," "The Man I Love," "Not For Me," and "They All Laughed," the nearly two dozen selections on the program were representative of the marvelous body of work composed by the Gershwin brothers.  She also included two songs that Ira penned with other composers after George's death in 1937.

 

Ms. Gershwin's voice is a sweet, clear soprano, and she presented each song with great heart.  Having sung these songs for most of her life, she stands as the guardian at the gate of the Gershwin genius and put this show together with much love and admiration.  What is lacking is energy and polish, leaving the audience to politely tap a toe or merely nod in recognition of one of these classics. 

 

Several songs featured new arrangements, but there were a couple that were ill advised.  "Embraceable You" is known for its mellifluence, but was offered with an up-tempo Latin beat.  "Fascinating Rhythm" which presents some challenges with its syncopation came across as very frenetic and didn't work.  The most far-fetched was the Latin-style rendition of "It Ain't Necessarily So," a bluesy, sultry piece from Gershwin's opera Porgy and Bess, which was unrecognizable until several bars into the song.

 

When Ms. Gershwin slowed the tempo for numbers like "Our Love Is Here to Stay" and "Someone to Watch Over Me," it seemed more suited to her talents and her audience.  When the Gershwin Singers (McLanan, Martin, and Tober) took the stage on their own for "Stairway to Paradise," their singing was vibrant and gave the music the kind of spirit that calls for more than toe-tapping.  Their close harmonies and jazzy style brought to mind The Manhattan Transfer (minus one).

 

The stage was set like a nightclub with the talented musicians seated behind the singers.  Suspended from above were a screen projecting the name of the show and, later, some family photos, as well as a glittery quarter moon to evoke some semblance of romance.  As Alexis said, this show was meant to bring up "lovely romantic musical memories."  The formal attire (she wore a beaded chartreuse gown with spaghetti straps and a handkerchief hem and above-the-elbow- matching gloves) of the singers and musicians alike raised the level of expectation that we were going to see something sophisticated and special.  Some very modest dance steps by the vocalists made one long for the stylish offerings of Fred and Ginger, especially when their images were displayed on the overhead screen.

 

There is no doubt that Ms. Gershwin loves and cherishes the classics that were written by her uncles and enjoys every moment of bringing them to an audience.  They have stood the test of time, even after seven decades, rock 'n' roll, and The Beatles, proving that the world can never have too many love songs.  Spending an afternoon in the embrace of Gershwin music should have been more "S'Wonderful."