Songbook—Broadway’s Future (2/24/14)

Show music by new composers and lyricists. There were ‘selections’ from two shows on display on Monday evening: The Bootlegger & the Rabbi’s Daughter and Tink! When I read the program notes, I had fairly high hopes. I was somewhat rewarded.

Bootlegger (book and lyrics: Tajlei Levis, music: John Mercurio) turned out slightly less successful than I had hoped for. In 1920, on the lower East side, an Italian immigrant takes advantage (in more ways than one) of sacramental synagogue wine and the rabbi’s daughter (though they eventually fall in love—the daughter and the immigrant, though the wine doesn’t hurt!). If this sounds stereotypical, you’ve just gotten why I found it less than successful. The score was OK, with jazz touches, a hint of klezmer, etc., but the book/lyrics and over-the-top accents out-Fiddlered Fiddler on the Roof, while adding a touch of Rocky. “Heaven Full of Stars,” a nice song of want, and a male duet, “You Could Learn So Much,” were pretty good. “In the Snow” was a nice period piece. And “Confession,” with two guys playing stereotypical Italian mamas was humorous. Still I wasn’t overly impressed.

Tink! (book and lyrics: Diane Uniman, music: Kevin M. Cotter) was far more enjoyable for me. The convoluted plot involves Cap’n Hook (as his grandma) transforming Tinkerbell into a ‘real, live girl’ so that she can pursue her love of Peter Pan. That’s really all you need to know for this go ’round. “Behold Tink” was a real opening number—introducing characters, and setting the stage. “Loster” was a play on words and a play on what really affects the Lost Boys. “Meanies” brought to mind an English music hall number. There were a couple of ‘star turn’ tour-de-force numbers presented; is the whole score that good? We’ll need to wait and see. I hope I’ll get to see a further iteration of this one. Just came across this, from my notes (I think it was from Tink): “I came from a land where make-believe is real!” Says it all, for me.

Overall, the performances were very good (without naming all of the artists)—a hodge-podge of working/auditioning/soon-to-be-working actors and actresses. And, as always, I enjoy expanding my horizons by hearing new theater music, getting first (or somewhat recent) hearings. There should be one more Songbook for each of March, April, and May. I hope to hear all three, and report back on what I hear.

ConcertMeister