In Toe-Tapping 'Bandstand: The New American Musical', Swing Is a Means of Putting Dispirited War Vets Back to Rights

The company of "Bandstand: The New American Musical." Photos by Jeremy Daniel.

BY TAMARA BECK

THEY come back battle-fatigued. But when it passes, they realize that their reality is far different from that of the homefront.

Just as it is true today when soldiers return from wars around the world, it was so after World War II, with America recovering much faster than her returning veterans.

One such veteran is Donny Novitski (Corey Cott. His story is told in
"Bandstand: The New American Musical," in an open run at the Bernard B. Jacobs Theatre.

Donny was a musician, a boy wonder who played the accordion at 6 and wowed at the piano
before he left for the Pacific front. His road to recovery is a national contest for a band to represent the new sound of a post-war America.

Julia (Laura Osnes), the singer, is the lone girl in the group in "Bandstand: The New American Musical."

To win the contest, Donny gathers a troupe of veterans that can swing with the best of them. Jimmy Campbell (James Nathan Hopkins) and Wayne Wright (Geoff Packard) are two of them. Each recommends another vet, one with a horn, Nick Rade (Alex Bender), one on bass, Davy Zlatic (Brandon James Ellis) and another on the drums, Johnny Simpson (Joe Carroll).

For "window dressing," as she puts it, Donny taps a girl to sing. Julia (Laura Osnes) is the widow of his best pal in the 37th. It's Julia's mother, Mrs. June Adams (Beth Leavel), who encourages and convinces her to join Donny's band.

The Tony-winning choreographer of "Hamilton," Andy Blankenbuehler, has those duties here as well as those of director. His creative and lively choreography in "Bandstand" has put him on the short list for this year's Tony, too.

The writers, Robert Taylor (book and lyrics) and Richard Oberacker (book, music and lyrics) are Broadway newbies, sort of. Both men have vast experience working as orchestra pit musicians around New York City. RO has written many musicals that have been produced off-Broadway and way off Broadway (some in Japan, for instance.)

"Bandstand" puts them squarely on the Great White Way. Although they have not gotten the Tony love they deserve, they are nominees for "Bests" at the Drama Desk Awards, as is LO (who also mystifyingly missed out on a Tony nomination). Bill Elliott and Greg Anthony Rassen are nominated, however, for Best Orchestration for "Bandstand."

In tribute to its sensitive treatment of veterans' issues, "Bandstand" is partnered with Got Your 6, an organization dedicated to representing the veteran experience with respect and honesty. (http://www.gotyour6.org)

"Bandstand" presents a serious subject with empathy, tact and delicacy. Also with flair and all the pizazz for which swing bands are known. Everyone in the production is terrific, from the stars, CC and LO, to their "bandmates" and the ensemble that surrounds them. They tell a very touching story. There's plenty of jazzy music to keep you tapping your toes and many fine
tunes to move the plot.

Donny and Julia (Corey Cott and Laura Osnes) backed by the band in "Bandstand: The New American Musical."

"Bandstand" is a cut above the typical Broadway fare in that it has both originality and heart.

Visit http://www.bandstandbroadway.com/ to learn more about "Bandstand: The New American Musical."

'Rodgers + Hammerstein’s Cinderella' Is Age Appropriate

BY TAMARA BECK

THE point of fairytales is, as the old Disney tune has it, that “they can come true.” As a rule they don’t feature a self-reliant heroine or an overly introspective hero

However, this is the 21st century, and things have changed – at least with the “Cinderella” story.

Douglas Carter Beane has updated the book and added some songs, written with David Chase, to “Rodgers + Hammerstein’s Cinderella.” The musical is making its Broadway debut in an open run at the Broadway Theatre. (See video clips above).

This Prince Topher (Santino Fontana) – short for Christopher and a string of amusing monikers – is a lovely young dragonslayer who wishes he “could do more with my life.” Once the Prince meets Cinderella (Laura Osnes) his resolve to do better grows. The two will rid the kingdom of corruption.

Laura Osnes and Santino Fontana as a power couple in “Rodgers + Hammerstein’s Cinderella.” Photos by Carol Rosegg.

Of course, it is very likely that most know the other parts of the story. The evil stepmother, Madame (Harriet Harris) and her daughters, Gabrielle (Marla Mindelle) and Charlotte (Ann Harada); the fairy godmother, Marie (Victoria Clark), the pumpkin that becomes a coach and the mice that turn into snow-white horses. All are iconic parts of the Cinderella tale.

Rodgers + Hammerstein first created their version of the classic love story for a live television broadcast in 1957 with Julie Andrews in the lead. Most of the the songs are romantic and lyrical or funny and delightful. “Ten Minutes Ago” is simply a wonderful song, as is “The Stepsister’s Lament.”

Cinderella (Laura Osnes) has a sweet song in her heart despite her bitter reality.

Some of the additional material rises to the occasion as a fairytale for the times. The subplot of the “Occupy the Kingdom” character Jean-Michel (Greg Hildreth) is a well-wrought modernization.

Under the able direction of Mark Brokaw, all in the “Rodgers + Hammerstein’s Cinderella” cast acquit themselves admirably. LO is natural as Cinderella both in rags and rich gowns. SF is a dreamy prince. They and the entire ensemble make this bedtime story leap off the pages into real life.

Cinderella (Laura Osnes) gets a little TLC from her godmother (Victoria Clark).

The costumes by William Ivey Long are breathtaking and quick-change friendly. Anna Louizos’ sets have a picture-book quality.

“Rodgers + Hammerstein’s Cinderella” is an opulent and elegantly done production that is beautiful and pleasantly told.

Visit http://www.cinderellaonbroadway.com/ to learn more about “Rodgers + Hammerstein’s Cinderella.” Rx