Harmony: A New Musical by Barry Manilow & Bruce Sussman tells the true story of the Comedian Harmonists, six talented young men, Jewish and gentile, who came together in 1920s Germany and took the world by storm with their signature blend of sophisticated close harmonies and uproarious stage antics.
Previews began March 23 and the limited run will continue through May 8.
This was a big EH for me last night. The show just drags on….the songs are not that great. The men are amazing and work their butts off. Chip is an icon, his second act closing monologue had the audience in tears. This needs to be tighten more with a new director. I don’t see this on Broadway anytime soon.
I really enjoyed and found the story itself super interesting. The characters can feel a bit one dimensional, although everyone on that stage is excellent in their roles and bring a lot of personality, but I didn't mind as it felt very classic musical theater and the story was so interesting. I felt there were mostly catchy songs with three real stand outs and two real stand out production numbers. Chip's act two, all around, is incredible. I actually think this would benefit from a larger production. It felt like it wanted to be a bit bigger to me. I know they're considering this a developmental run and with some minor cuts and reworkings I think it could be excellent. Everyone around me seemed very moved and to really enjoy it.
The Times desperately needs a second full-time co-chief theatre critic.
Freelancers and "at large" critics with transient careers are going to drive producers/investors crazy, since the producers are still in the mindset that they can trust reviews to aide their decision in moving a show to Broadway.
If this had a positive or negative review from a chief critic, it would dictate Ken Davenport's next steps. Now he's in this weird limbo zone because you have no idea what kind of review you'll get when it actually moves to Broadway –– and yes, reviews still matter to an extent.
ErmengardeStopSniveling said: "Freelancers and "at large" critics with transient careers are going to drive producers/investors crazy, since the producers are still in the mindset that they can trust reviews to aide their decision in moving a show to Broadway.
If this had a positive or negative review from a chief critic, it would dictate Ken Davenport's next steps. Now he's in this weird limbo zone because you have no idea what kind of review you'll get when it actually moves to Broadway –– and yes, reviews still matter to an extent."
Elizabeth Vincentelli has been reviewing for the Times for years. Co-chief critic means nothing to the reviews themselves. The lone chief critic there now often takes pleasure in writing incoherent, catty drivel, so unless your point is they need another to balance that out, not sure what you’re getting at.
And I assure you that used car salesman Ken Davenport of all people is not phased by critical reception to work he produces. Let’s not forget he is the mind behinds Gettin’ The Band Back Together. People don’t move a show to Broadway on whether or not they can bank on a good review, they move it to Broadway to make money. Reviews help, but no producer is banking on a rave from the Times being the sole reason they move a show.
Also, Elizabeth Vincentelli and I haven['t always agreed on shows, but I would rather her and the experience from the NY Post as their chief Drama critic, than some other that populate the NY Times. She's more than beyond qualified. (Not saying that the OP called that into question, but I'm just saying that to lament about the need of a "co-chief" critic..."so who cares? so what?"
"Ok ok ok ok ok ok ok. Have you guys heard about fidget spinners!?" ~Patti LuPone
RippedMan said: "I'd imagine between Barry and Warren they can get the capital to get this to Broadway... where it will flop. But hey, it's not my money."
Well they're not the ones producing, and I certainly hope they wouldn't put a cent of their own money into the show. This is in Ken Davenport's hands now.
Manilow released an album in 2004 called SCORES (SONGS FROM COPACABANA AND HARMONY). It’s available to stream. The first seven songs are from COPACABANA and the last seven, from HARMONY..
I’m not sure that all of the numbers here are in the current iteration, but it appears that most are.
For anyone interested, Deutsche Grammophon released an album in 2014 featuring a recreation of the group called, COMEDIAN HARMONISTS: DIE LIEBE KOMMT, DIE LIEBE GEHT. It will give you a taste of how the group would’ve sounded had they been recorded today. It’s available to stream.