Reviews by Brandon Judell
The Broadway Musicals of 1925
Created, Written and Hosted by Scott Siegel
Directed by Ray Roderick
Produced by The Town Hall
123 West 43rd Street
212-382-1875
One night only: February 17, 2003
Reviewed by Brandon Judell
Not even the fourth worst blizzard in New York City history could stall the opening of Broadway by the Year's third season. Yes, this acclaimed series that's housed at Town Hall seemed to be 3/4 full which says a lot about Broadway fetishists, making one wonder how many of them are actually postal employees out of uniform.
Anyway, the year being celebrated at this night's blustery opening was 1925. Over 200 shows opened that year on the Great White Way, the winning host, Scott Siegel noted with extremely laid-back pizzazz after requesting the audience to wrap their cell phones up in duct tape. On a less dramatic note, he relayed 1925 also saw the debut of Mein Kampf and The Great Gatsby: Aryans meet the Lost Generation. Also, the first Howard Johnson's opened its doors and scotch tape began resolving many sticky problems.
But for most of us with a penchant for C-sharps, E-flats, and a little tap, 1925 is indeed more memorable for its musicals such as Big Boy, The Cocoanuts, Dearest Enemy, No, No, Nanette, Sunny, The Vagabond King, and Tip Toes--and this is just what Siegel and his cast of five celebrated as the enthralled attendees continued to remove their galoshes.
Among the quintet that splendidly let loose on some great classics and a few undeservedly forgotten tunes were the sublime Nancy (A Class Act) Anderson; Stephanie J. Block who will star this coming October on Broadway in Stephen Schwartz's Wicked; and Justin Bohon who's currently on stage singing about surreys as Will Parker in Oklahoma. If this weren't enough, there were also the succulent Howard McGillin who dons a mask nightly in The Phantom of the Opera, plus Walker Jones who was seen in the Public Theatre's production of Henry VI.
This sprightly five sang alone, in pairs, in trios, and in a few terrific total-cast arrangements. The always capable Ross Patterson and The Ross Patterson Little Big Band supplied the top-notch accompaniment.
It was Anderson, though, who seemed at times the star of the production. Perfectly coifed and beautifully attired in pure flapper's style, this beautiful woman danced, sang, and plucked the ukulele with verve. Yes, indeed, whether comically scooting on or off the stage, jumping on or off the piano, or just letting loose with a tune, Anderson was riveting. Especially on "Old Fashioned Girl," "Some Day," and her delicious duet with Bohon on "Divorce," Anderson enraptured.
The youthful Bohon was also endearing as he sang his boyish, innocent heart out and danced a bit on the savory "Coffee, Sandwiches, & You" plus "Gigoletta."
The dashing, solidly-built McGillin supplied vocals to swoon by as he sang out on a reconsidered "Tea for Two" plus "Lackawanna."
The shorter but broader Jones supplied welcome comic relief with "If You Knew Susie" and the highly sexual "Paddlin' Madeline." And then he sang "As Long as I've Got my Mammy," the Jolson tuner as Jolson would have to his mother who was in the audience.
Finally, but definitely not least, was the upcoming chanteuse Block who knows how to take a bite out of a song and spit it out with class. Either solo on "Love for Sale" and "I Was Alone" or in duet with Walker on the hilariously vicious "Murderous Monty," this gal knows how to belt with the best.
In the end, this was an evening worth the frizzies and frost-bite. [Judell]
Copyright © Brandon Judell 2003
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