REVIEW: Genius on Display in GEORGE GERSHWIN ALONE at Laguna Playhouse

LAGUNA BEACH, CA-One of American Jazz's early ambassadors, composer George Gershwin is regarded as one of history's most renowned architects of the Great American Songbook. From "I Got Rhythm" to "Embraceable You," Gershwin (together with lyricist brother Ira) crafted a repertoire of music that's become so synonymous with its era and the city of its birth that most people can't imagine a musical landscape without these iconic compositions. In George Gershwin ALONE, now playing at The Laguna Playhouse until February 21, Hershey Felder-in a remarkable, captivating performance-brings a first-person account of Gershwin's staggering brilliance and calls attention to a life so tragically cut short. Transplanted directly from its engagements on Broadway, London and all around the world, the show is a one-man musical journey that explores the rise and fall of a creative genius.

The third and final movement of Felder's three-part "Composer Sonata" series (the first two portray Beethoven and Chopin, respectively), George Gershwin ALONE travels through Gershwin's path towards infamy, from his early days as a young man interacting with his Russian-born immigrant parents to his work as a Tin Pan Alley composer, to the development (and subsequent critical derision) of two of his most memorable operas Rhapsody in Blue and Porgy and Bess. Felder effortlessly channels Gershwin both in words and songs, occasionally stepping out from behind the piano to deliver Gershwin's life story-though much too little of it-then slides back behind the ivories to croon his signature scores. Working under the direction of film and television director Joel Zwick (My Big Fat Greek Wedding, Fat Albert) and a book he wrote himself, Felder no doubt commands the stage with every pause and inflection, displaying his performance virtuoso most indicatively behind the piano.

The play itself poses the argument that Gershwin, who died of a brain tumor at the age of 38, was a genius who was misunderstood in his own time (despite a string of commercial, popular hits). His critics, as Felder's Gershwin explains, were mostly harsh (attacking not only his musical choices but also-in Felder's most powerful monologue-his very own Jewish heritage). History, however, will later regard his compositions as astounding, thought-provoking and groundbreaking for its time.

As for the play itself, George Gershwin ALONE is a nicely zippy 80-minute "highlights" version of a life story, eschewing any jam-packed hit-after-hit medleys or any stories of real depth, controversy or scandal. This is not necessarily a bad thing (imagine if every Gershwin tune was referenced, the play would have gone on for a while!), but there are moments throughout the play when it's as if memories and confessions were purposely left out or edited for our benefit. The audience is treated to a conveyor belt of historical bullet points. This almost begs the question: Was Gershwin hiding something else besides what we were privy to within the context of this play?

The beautiful yet minimalist set itself (designed by Yael Pardess and lit by Michael T. Gilliam) presents Gershwin as if he's caught in some kind of spirit world, as giant replicas of his sheet music covers and picture frames surround the composer in a state of archival freeze. Gershwin here is a moving museum piece in miniature, adding to the mystery of what's withheld from the story being presented.

There is no denying that Felder is an enthralling actor-pianist, highlighted by his excellent work in the climactic, completely engrossing performance of Gershwin's most celebrated masterpiece Rhapsody in Blue. That piece alone is worth the price of admission. Though his talents while portraying Gershwin are indisputable, it is after the conclusion of the play-where he takes his bows and sheds the persona of Gershwin-when Felder, as himself, becomes even more enchanting. To everyone's welcoming delight, he morphs into an affable party host, leading the intimately-gathered audience to a rousing sing-along-reminiscent of the old days, Felder explains, when people used to gather around the piano and sing along to the hits of the day. This charming, musical group hug was a nice capper to an evening of fantastic American classics from the incomparable George Gershwin.

Grade: B+

Photo: Hershey Felder in George Gershwin ALONE by Mark Garvin.

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Performances of Hershey Felder IN George Gershwin, ALONE continue through February 21.
Showtimes:
Tuesday - Saturday at 8 p.m.
Saturday & Sunday at 2 p.m.
Thursday Matinees January 14 & 28 at 2 p.m.
Sunday Evening January 24 at 7 p.m.

Tickets to any performance are available by purchasing tickets in person or by calling the box office at (949) 497-ARTS [2787]  (or group sales, dial ext. 229) or by visiting their web site at www.lagunaplayhouse.com. The Laguna Playhouse is located at 606 Laguna Canyon Road in Laguna Beach, CA.

Hershey Felder AS MONSIEUR CHOPIN plays February 25 – March 7, 2010. Created by the same team that brought George Gershwin ALONE to life, Monsieur Chopin begins at Frédéric Chopin's salon at 9 Square d'Orléans in Paris. Monsieur Chopin will teach a piano lesson that actually took place on March 4, 1848, just days after the February 1848 revolution. As the piano lesson unfolds, he reveals secrets about the art of the piano and composition, as well as secrets about himself. Considered by his contemporaries, and now by history, as the true "Poet of the Piano," Monsieur Chopin features some of the pianist-composer's most beautiful and enduring music.

For more information on Hershey Felder as George Gershwin Alone, please visit the website www.gershwinalone.com.

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