Harwood Management Artists

This was a worthwhile endeavor, allowing young (early-20s–mid-30s) theater folk a chance to spread their wings. These are all performers associated with Harwood Management. There were some programs that had brief bios of the performers; unfortunately, the one I snagged only listed the performers and the songs. None of the singers wowed me, but it was interesting to hear a diverse mix of Broadway show tunes. But first, some stage management issues.

There were two accompanists (a good thing, in a program of 23 songs). Alas, they seemed to alternate quite a bit, so there was a built in lull, as one left and the other arrived. Would it really have killed them to set out an extra chair and have both of them onstage throughout each half, to cut down on unnecessary traffic? Just wondering. Also, somebody should drill these folks on stage comportment, especially on how to take a bow (even more so in the duet situations). Be forthright, smile, acknowledge the audience, bow, and leave. Determine ahead of time whether the accompanist should get an acknowledgment. In a duet situation, determine ahead of time whether it will be one bow, or one each, and then one together. Don’t make it look like you’re winging it. And if you screw it up, don’t acknowledge it (unless you’re absolutely sure you can play it for a laugh). Really, it’s a lot like life: If you look like you know what you’re doing, that level of confidence will carry you through.

Um, CM, what about the music?

Right. As mentioned above, there were 23 songs, so not every one will get its due. The opener was “Another Openin’, Another Show” (Kiss Me Kate), with the full cast of 17 singers. Rousing, mostly unison, with a go for broke ending, i.e., the sopranos went soaring. There was a mix of old—“Blue Skies” (from Betsy, who knew?)—new—“I Should Tell You” (Rent)—Disney—“Proud of Your Boy” (Aladdin)—and traditional—“People Will Say We’re in Love” (Oklahoma).

Also included were “Your Eyes” (Rent) and “Lily’s Eyes” (Secret Garden). In the humor department, we had “I Am Adolfo” (The Drowsy Chaperone) and a crackerjack performance of “Can’t Stop Talking” (Let’s Dance). This last one was new to me and it was just great—a witty, well-performed patter/novelty number. Another highlight was “The Man That Got Away” (A Star Is Born).

Less successful (or less to my taste) were works from In the Heights, Little Shop of Horrors, 9 to 5, and Nine. I guess I’m more of a traditionalist. Sondheim was represented with “Good Thing Going” (Merrily We Roll Along) and “Johanna” (Sweeney Todd), both performed relatively successfully. Also relatively successful was a duet of “You’re the Top” (Anything Goes). The intention was good and the performers had good instincts, but the tempo was just too fast. The song’s witty character got lost in the shuffle. Hearing “Who Can I Turn To?” (Roar of the Greasepaint, Smell of the Crowd) brought back some fond memories of junior high. Yep, I was exposed to show tunes at an early age.

Just before intermission, it was announced that Celeste Holm was in attendance. A lot of people flocked to her at intermission. I didn’t, but I did walk over to get a closer view. At 95, her smile is just as radiant as ever.

So, all in all, a pleasant afternoon, exposure to new (to me) Broadway tunes, sung by a fledgling group of performers with talent—though talent that is still rough around the edges. I’m glad I went.

ConcertMeister