By Marilyn Lester****Call it inspired, a perfect storm of creative ideas or even perfection—but no matter how you describe it, the first of this year’s Lyrics and Lyricists programs at the 92nd Street Y was “Oh So Lovely” and then some. Conceived by singer-actor and Tony Award nominee, Santino Fontana, We’ll Have Manhattan: Rodgers & Hart in New York celebrated the centenary of the Richard Rodgers-Lorenz Hart songwriting collaboration with big time pizzazz, focusing on the extraordinary lyrics of Hart.
The opening number, “Thou Swell” (A Connecticut Yankee, 1927 musical) set the tone; the ensemble of Fontana, Lilli Cooper, Jessica Fontana, Ann Harada and Vishal Vaidya, performed with high energy, singing gorgeous harmonies, flawlessly repeated in other cast numbers, including “I Gotta Get Back to New York” (Hallelujah, I’m a Bum, 1933 film), “Mountain Greenery” (The Garrick Gaieties of 1926, revue) and the closing number, “Where or When” (Babes in Arms, 1937 musical).
The opener also foretold a multitude of delights to come in David Chase’s catchy, updated arrangements. In discussing the show, Broadway musical genius Chase and Fontana agreed the numbers should have a swinging post-World War Two feel to them. Borrowing some musical riffs from the likes of Louis Prima and Nelson Riddle, in addition to his own creative ideas, Chase not only met expectation but exceeded it. The program’s 25 numbers kept the flavor of mid-century swing, yet in a decidedly modern way. Considering that the Songbook standard and perennial favorite, “Manhattan” (The Garrick Gaieties of 1925), was written 94 years ago, it goes to show how relevant the music remains today and why the songs are called standards.
Rodgers and Hart were introduced to each other in 1919 when both were students at Columbia University. They began writing musicals for the school’s varsity shows, continued to work together and in 1925 produced their first successful musical on Broadway, the revue, Garrick’s Gaieties of 1925. What followed in their 24-year partnership was an enormous body of work that introduced now iconic songs into the classic American Songbook. “My Funny Valentine” (Babes in Arms), for instance, one of the most recorded songs of all time, was delivered emotively by Fontana. One of those performers of certified Grade-A talent, he has the uncommon ability to light up a stage, which he also did on “The Blue Room” (The Girl Friend, 1925 musical) and “Glad to Be Unhappy” (The Garrick Gaieties of 1925), with wife Jessica Fontana.
Jessica Fontana was especially powerful in voice and feeling on “Falling in Love With Love” (The Boys from Syracuse, 1938 musical) and in duets with Harada, such as “This Can’t Be Love” (The Boys from Syracuse). On her own, Harada aced “Quiet Night” and “On Your Toes,” both from the 1936 musical On Your Toes. Cooper, the third distaff cast member, knocked it out of the park with fiercely energetic and fun renditions of “To Keep Love Alive” (A Connecticut Yankee) and “Everything I’ve Got” (By Jupiter, 1942 musical) with exquisite diction and perfect timing on delivery of the lyric. Vaidya, rounding out the ensemble, seemed to struggle with nuance and finding his voice in his numbers, especially the ballads, “I Didn’t Know What Time It Was” (Too Many Girls, 1939 musical) and “The Most Beautiful Girl in the World” (Jumbo, 1935 musical).
Another brilliant thread in this shining tapestry of a show was Fontana’s literate text. As host of the performance he delivered the main portion of it, but also smartly had other cast members speak chunks of it. Each of them told Hart’s story with heartfelt appreciation of the lyricist and the man. Lorenz Hart’s life was short (he was just 48 years old when he died in 1943) and despite the outward glamour and the success, he was a profoundly tortured soul: purportedly gay, often depressed, troubled by alcoholism and heartbreakingly lonely. Fontana adroitly wove the problematic aspects of Hart’s life into the greater picture of who he was as a human being. The result was a concise, yet fully realized portrait of the man—he was flawed, yes, but also one who gave so much of himself in his work to our ultimate benefit. The narrative, in its sensitivity, left no doubt that Fontana and company felt genuine affection and respect for Hart.
In addition to exciting visual projections, which added tone to the show, direction by Gina Rattan kept the pacing full of vitality. Her choreography of placement, especially the many entrances and exits, was smart and brisk. Last but not least was the magnificent quintet who interpreted Chase’s arrangements and supported the vocalists with verve and crisp playing—these cats were totally in the pocket. The rhythm section of music director-pianist Andy Einhorn, with Mark Vanderpoel, bass and Perry Cavari, drums, was augmented by the virtuosity of Steve Kenyon, playing a variety of reeds and Brian Pareschi on trumpet. These latter two instrumentalists transformed a quintet into much more, with the power and texture of a big band.
Lorenz Hart never lived to reap the rewards of his tremendous talent. If there is a place where he can know it now, 92 Y and We’ll Have Manhattan: Rodgers & Hart in New York is shining as a magnificent tribute to a profound contributor to America’s cultural heritage.
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