Broadway Musical Review : Nice Work If You Can Get It

     Last night, Lewis and I attended "Nice Work If You Can Get It", which was a wonderful and greatly-funny show.  These are the kinds of shows that Broadway needs!  (Or, at least, I think so).  I mean, that's what they're known for.  Certainly, there are dramas and modern interpretations done with the song style of Sir Andrew Lloyd Weber, but nothing competes with the immense positive energy or toe-tapping rhythms of song/dance musicals like this.  Even if it didn't garner many TONY awards, you could tell that the actors were having fun with their medley of Gershwin songs.

     [When we got to our seats, one of the ushers took the time to stop and really compliment my outfit: lavender jacket/socks/cufflinks, white trousers, spectator shoes and madras bow tie.  Lewis decided to wear a simpler ensemble and make his new Pradas the exclamation point!]  
     The score was an amalgamation of Gerswhin tunes (some standards, some forgotten--but each a gem)--all brought together under a new script.  The orchestra was superb.  The arrangements were lush, swinging, and jazzy.
     It seemed like the kind of show where the cast was REALLY having fun.  They were authentically bright-eyed, and they had to try so many times to hold back their true laughter during the zany stunts and funny lines.  It reminded me of how guests behaved on the "Dean Martin Show" (watch it on Youtube) or "Who's Line Is It Anyhow", where the camera catches how performers burst out laughing at each other because of how funny things were.  
     When the drunken aunt leaped onto the chandelier--swinging frantically and dangling her legs--you could see Matthew Broderick and the butler exchange glances and really start to laugh.  When Broderick tried to cough during a pretend case of sickness, it made the leading lady turn to hide her laughter several times.  And when one male dancer did a prancing leap that ended in a spread-leg split on the floor, another dancer actually gave him an out-loud compliment, as if the move was something new (or maybe he just realized that his coworker was somebody fun to go on a date with!!)
     The body language and facial reactions in that very animated production were real art.  Broadway actors must have tremendous energy to do their shows perfectly several times each week!  But the most important part, that the audience can tell--and which is contagious, is the fun synergy shared by the musicians and cast.  (The open bar in the back of the house, like Radio City Music Hall, helped, too).  Aside from the 25 songs, the way things unfolded during the show were truly entertaining.  The bathtub scene, where chorus girls & boys continued to "pop" out, as the song progressed, and the luncheon scene were hysterical.  Even as we all left the theatre--tourists, Manhattanites, and suburbanites--people were still humming or singing the music... always a great sign!  I hope the show continues to delight audiences for many seasons to come, representing Broadway's jovial side and being a positive influence.

4th of July Concert

     Lewis and I had front row seats for the kick-off Summertime Festival by the NY Philharmonic.  This was the "A New York Fourth" concert, including an exceptional collection of music!  The orchestra, in their white summer jackets, filled the stage, and then the summertime conductor, Bramwell Tovey, leapt to the podium (the reg conductor, Alan Gilbert, probably takes vacation) and everybody cheered.  You have to love him!  Such a smile and bundle of energy.  And when Bramwell started speaking, with his lovely British voice, he paused and interjected, "And if you're all wondering why someone with my accent is conducting an American Fourth of July concert (laughter)..., well, since we're all allies now, my countrymen always send me here... to apologize!"
     The first segment was three dance episodes from "On the Town".  Lewis and I quietly sang the words, "New York, NY is a helluva town. The Bronx is up, and the Battery is down.  The people ride in a hole in the ground..."  Such a group of swing tunes was so impressive to hear live: the hot notes seemed to burst from the horn section, the woodwinds were so light, and the strings so enveloping.  Then a glittering soprano took the stage and sang, "Glitter and Be Gay".  So perfect!!!  Then, the orchestra took up a new piece--with the conductor on a grand Steinway (yay "made in Astoria") piano.  And he's so good!  His seasoned fingers rippled along the keys, while he also managed to conduct Gershwin's "Walking the Dog" from the Fred Astaire/Ginger Rogers film "Shall We Dance".  The song is so snappy, yet nonchalant and genteel.  Every tap of the cymbal, tinkle of the piano keys, thump of the bass, and blow from the muted trumpets was beautiful to hear in the autistics.  It was interesting to watch the musicians' faces, as their fingers flew across their instruments.  "Fascinating Rhythm" and "They Can't Take That Away From Me" were smoothly done in big band (but full orchestra) style.  When they played "The Man I Love", I said to Lewis that I had asked them to play it for him!  Awe!

     After intermission, The Jazz Knights assembled on the stage.  They are from the USA's elite military academy: West Point.

West Point is America's oldest continuously used military post, located in Orange County, NY.  In 1683, the county was named after the Prince of Orange, who was simultaneously the Dutch Stadtholder and King of England, Ireland & Scotland.  Initiated by President Thomas Jefferson, West Point became an academy in 1801 and drew cadets from Manhattan's upper echelon.  Nowadays, its meritocracy signifies excellence.
     The buglers and drummers were a pleasant surprise, in their festooned hats, blue trousers and jackets with white braid.  Then the West Point jazz musicians began a series of big band songs--each so perfect that the blasting swing notes made you want to dance.  My favorite is always "In the Mood", and they carried the Glenn Miller iconic flair of waving the instruments side-to-side, aiming them at different positions in the air, and using all the mutes and boo-wah sounds.
     Then, they did a medley of marches for each branch of the military.  They asked active Service Members and Veterans of each division to stand for acknowledgement when their song was played.  It was a nice touch, as we showed appreciation for "life, liberty and pursuit of happiness."  Then, Bramwell took turns with Commander/Conductor Lt. Col. Keene to conduct some more marches: "Liberty Bell", "Pomp and Circumstance", "Official West Point March".  You couldn't find a more enthusiastic way of celebrating summer and 4th of July than with such beautiful energetic music.  The finale was superb: "Stars and Stripes"!  They responded to standing ovation and played it twice.  So lively and so much fun from the country's oldest orchestra.

     Since we dined elegantly at Arpeggio (at the top of the Time Warner Center) before the concert, we simply headed home to conduct our own "pursuit of happiness".  We made our own fireworks! :-)