Broadway

Barry Manilow: Harmony review [Broadway]

A labour of love borne out over some 25 years, Barry Manilow and Bruce Sussman musical Harmony finally makes it to Broadway, at a time when, as ever, the musical’s powerful plea for peace is sadly as relevant and necessary as ever. 

Creatively and entertainingly telling a true story, Harmony serves to keep alive the memory of The Comedian Harmonists, a vibrantly talented, highly successful group of six young men who enhanced their lush harmonic vocals with mischievous comedy. Formed in Berlin in the 1920s and performing into the early 1930s, the group made multiple recordings and movies, touring the world to perform for legions of devoted fans. 

When word comes that the Nazi party has risen to power in Germany, the group makes the fateful choice to travel “home,” setting in motion increasingly traumatic treatment of the performers based on the Jewish contingent of their group. 

As a piece of musical theatre, Harmony has a unique blend of delightful entertainment and moving drama. A memory play presided over by the character of long surviving member “Rabbi,” the musical features fabulous production numbers showcasing the style of music and comedy performed by The Comedian Harmonists. 

With relatively simple staging elements, director / choreographer Warren Carlyle keeps the focus squarely upon the six young men. Show-stopping numbers such as “How Can I Serve You, Madame?”, “We’re Goin’ Loco!”,  and “Come to the Fatherland!” are a joy to watch, but there is often a sting in the tale of such scenes. As the musical progresses, the Nazi presence rises inexorably, ultimately taking a direct toll on the group.

Much as his career is rooted in pop, Manilow’s music is perfectly suited to musical theatre. Repeated melody lines are instantly accessible, leaving the audience with tunes to hum after the show. Following brisk early exposition, the musical really takes off with gorgeous ballad “Every Single Day,” sung by Rabbi. A second ballad highlight is the tender act two duet between devoted wives Mary and Ruth, “Where You Go.” 

Broadway royalty, Chip Zien masterfully inhabits the elder Rabbi, connecting deeply with the audience and also having fun with a slew of cheeky cameo roles; every time an older man comes into the story, there he is. Such is Zien’s command of the material and the audience, when he is finally outlining the fates of the six men, the whole house listens in respectful attentive silence. 

The six performers of The Comedian Harmonists are wonderfully cast, each bringing distinctive talent and presence to their role: Bobby (Sean Bell), Rabbi (Danny Kornfeld), Harry (Zal Owen), Erich (Eric Peters), Chopin (Blake Roman), Lesh (Steven Telsey).

Feisty Ruth is brought endearingly to life by fast rising star Julie Benko. Mary, wife of Rabbi, is played with delicate sweetness by star soprano Sierra Boggess.

A bittersweet tale, to look at Harmony in the most positive light is to rejoice in the opportunity to keep the memory of The Comedic Harmonists alive and to take inspiration from the keenly felt message of the role of every person in preventing unchecked cruelty. 

Harmony plays at Ethel Barrymore Theatre, New York. For tickets, click here.

Photos: #1-#5 Julieta Cervantes; #6 Adam Riemer

4 replies »

  1. Oh for the Production Company (if it was still going) or another company to bring this to Oz. Perhaps our best chance is if it was recorded or screened. Thanks for the review!

    • Barely a day goes by when I don’t wish that Melbourne audiences and artists still had the benefit of The Production Company.
      If Harmony is a hit we might see it in Australia. Everyone knows whom Barry Manilow is so the composer credit would carry some weight.

      • Yes Simon it’s a shame no-one else took up the Production Company mantle. One thing I could never work out, correct me if I’m wrong, the Production Company shows were only in Melb? I just couldn’t work out how with all the rehearsal time who the running time of each show was relatively short. But perhaps a fully booked 10 day season for each show made good sense. It makes you wonder what sort of money would be needed to run a Production company style season each year. And I wonder if another source of revenue would have been or would be to record the shows so they could be streamed to a wider audience. Agreed, sadly missed!

      • To the best of my memory, there was one time TPC when did The Boy From Oz and they took it Adelaide. And an earlier time with South Pacific where it played a couple of shows in Sydney.
        Looking back, it would have been amazing if they had filmed some of the shows. What a great record of talent that would have been. I guess the main focus was on the live performances, which was what we all appreciated at the time.

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