 
|
|
|
|
Gershwin
Without
Apologies
Memorable
music for stage, screen, concert hall and juke box.
By
Brett Campbell
While he was in Paris in 1928,
completing the score for his fabulous tone poem, An American in
Paris, George Gershwin approached the composer Igor Stravinsky
at a party. Gershwin had come to France to find and study with a renowned
music teacher, but two of his choices, Maurice Ravel and Nadia Boulanger,
turned him down, saying he didn't need their help. "How much money
do you make in a year, Mr. Gershwin?" Stravinsky asked when the composer
of Rhapsody in Blue and dozens of hit songs asked if he might
become his pupil. After hearing the six-figure number, he replied,
"Then maybe I should study with you!"
Gershwin remained insecure about his "classical" credentials.
When he wrote songs for breezy musicals, the highbrow critics dismissed
him as a mere Tin Pan Alley hack. When he applied his prodigious talent
to concert music, the same critics carped that he was in way over
his head, producing fluff in the form sanctified by Beethoven and
the rest. Even some of his pop comrades and Hollywood producers initially
regarded his art music efforts as highfalutin.
But Gershwin's talent was greater than all the doubters.
America's most successful crossover artist melded European classical
and African American traditions to produce music — for stage,
screen, concert hall, and jukebox — that was among the most
memorable ever composed. And, despite lingering disdain from the high-art
gang, he revitalized art music with the sounds of the streets and
the countryside, most notably the blues. No one since — not
even his great admirer Leonard Bernstein — has managed to traipse
along both sides of the pop/art divide so sublimely.
In fact, Gershwin demonstrates that the whole notion
of a Berlin Wall between high and low art is unfounded. He showed
that pop can have sophistication, that serious art can have wide appeal,
and that, in the hands of a great composer, it's all the same thing
beautiful music. If few others have followed his example, it's because
their imagination and creativity were so much slighter than his —
and he didn't live to see 40.
Nevertheless, even today, Gerswhin's most serious
works are still often relegated to pops concerts. And at first glance,
this summer's Oregon Festival of American Music all-Gershwin tribute
may seem to fall into the same category: OFAM has cut the number of
"serious" classical concerts down to one and replaced the others with
a couple of frothy musicals.
But in fact, OFAM is doing Gerswhin right. Along with
blues, jazz, and rock, America's greatest contribution to 20th century
music was the Broadway musical, so presenting a couple of them certainly
fulfills OFAM's mission. Even if the antic Gershwin confections —
often more revue than coherent narrative — don't measure up
to innovative classics or anything by Sondheim, OFAM director James
Ralph believes that they're underrated. He calls them a high-spirited,
playful but equally valuable alternative to the serious-minded, integrated
book musicals. Either way, they represent the original incarnation
of some of the greatest songs ever written, the sounds that made the
'20s roar. Presenting them in their authentic context requires no
regrets.
 |
|
Dick
Hyman
|
Admittedly, some of the songs do little more than
advance a preposterous, paper-thin plot, provide an excuse for a dance
interlude, or showcase a character — but isn't that true of
most opera, too? And their showbizzy, flapper-era frippery can ring
tinny to those who seek deep, introspective "sincerity" in their songwriters.
(Incredibly, the Gershwins wrote the classic "The Man I Love" for
Lady Be Good — then found it dropped because it slowed
the frenetic pace.) But these musicals do succeed in what their creators
intended — reflecting Jazz Age wit and energy — and classics
such as "Fascinatin' Rhythm," "Lady Be Good," "But Not For Me," and
"Embraceable You" can stand with the best of Schubert or any other
songsmith and will probably last a lot longer.
The sheer durability of these immortal songs —
some seven decades old — attests to their value. Anyone who'd
doubt the caliber of Gershwin's songs need only look to how many superb
renditions, many of them by the greatest jazz musicians, have found
their way to recordings, films and other productions. ("I Got Rhythm,"
for instance, almost single-handedly spawned a whole subgenre of jazz)
But as beloved as they are, such versions tend to obscure the fact
that the songs were born on Broadway, and I'm looking forward to hearing
them in a theatrical setting, where their sly, witty lyrics and danceable
rhythms fly the highest. Frothy, yeah — but delicious nonetheless.
And maybe we'll discover that they're a lot more substantial than
conventional wisdom would have us believe.
Along with the musicals, most concerts in this summer's
series — some at OFAM's new venue, The Shedd — also advance
the argument that much of Gershwin's music is unfairly undervalued.
(To its credit, the festival's programming always tries to advance
a proposition, usually quite persuasively.) And as it did earlier
with Copland and Barber, OFAM can reveal just how much we don't know
about even America's most popular composers, presenting a couple of
concerts of neglected Gershwin masterpieces, along with striving to
rehabilitate the reputation of those manic musicals. Even when it's
being light and breezy, OFAM can't help but be educational. And since
context is what OFAM does best, be sure check out the many informative
(and free) talks, films, art exhibits and more.
Gerswhinaganza
OFAM
morphs into musical theater.
by
Aria Seligmann
This is the year summer musical theater came back
to Eugene. West Side Story turned the lights back on at LCC,
and Jekyll and Hyde sings out to downtown crowds from ACE.
OFAM will also join the crowd, intending to blow the roof off the
Hult with Gershwin extravaganzas Lady Be Good and Crazy
For You.
These shows ought to satiate even the most die-hard
can't-get-enough Gershwinphiles.
 |
|
Vicki
Brabham
|
 |
|
William
Hulings
|
 |
|
Shirley
Sachs
|
Crazy is the 1992 Tony-award-winning remix
of the 1930 classic, Girl Crazy. Updated to move beyond the
original work's racism and sexism, the producers of Crazy also
stuffed it full of Gershwin hits. Girl Crazy included such
songs as "Embraceable You," "I Got Rhythm," and "Bidin' My Time."
Crazy for You adds "The Man I Love," "Slap That Bass," "The
Real American Folksong," "Shall We Dance," "Can't Take That Away from
Me" and believe it or not, more.
Jim Ralph is relieved he picked a Gerswhin theme for
a recession-year OFAM. He knows it's popular and will move tickets
even when other events are slugging along. He enthusiastically views
the musicals as a way not only for the community to enjoy the classic
stage shows, but also as a way for students of OFAM's Northwest Academy
of Musical Theater to gain experience performing.
Ralph chose both Lady and Crazy because
he thinks they are representative of a wonderful era of American musical
theater. Still, even he considers Crazy's top-hit dose a little
heavy. "The show gets carried away with a few production numbers at
the end," he admits. "I mean, it's enough. The boy meets girl, boy
loses girl, boy gets her back. Go home already. But there's more and
more numbers."
Director Kirk Boyd agrees. "Just when the audience
is ready to clap and go home, wait, there's another big production
number coming," he laughs.
Boyd, founder of Willamette Rep, like Ralph had wanted
to bring musical theater back to Eugene. When Ralph approached him
about directing Crazy, he grabbed the chance, and is also personally
co-producing — the Rep is not involved in the production.
But the task is daunting because not only is this
Boyd's first-ever musical, but also Crazy is so big Boyd describes
it as "quite a challenge." He has scaled back the enormous production
(it was originally intended for Broadway, after all) and has cut where
he can but has left in those big numbers to preserve the integrity
of the Gershwinorama.
Audiences gaga for Gerswhin are gonna love it. The
plot is simple, silly, classic. Bobby Child, the son of a rich New
York banker, fiancé to also-rich Irene, is sent to Nevada to
close down a failing theater. But when he arrives, he falls in love
with Polly, the theater owner's daughter. Instead of shutting the
doors, he decides to put on a show to bring in the bucks, all the
while hiding his identity and purpose for being there. Meanwhile,
Irene shows up to find him and falls in love with Lank, Polly's dumpee.
Boyd believes he's got the cast to pull off the show.
Ralph told him from the start that he wanted Shirley Sachs in the
lead, thinking she was "perfect for Polly." Although Ralph and Boyd
agree Sachs can "sing like crazy," both were unsure of her acting
and dancing ability. But Boyd said he was "pleasantly surprised" by
her talent.
Bobby Childs is played by William Hulings, who was
a serendipitous find for Boyd. "One day a fax came in from a local
talent agency," and there was someone "who had good references and
experience, could act, sing and dance — and who just moved to
Eugene," Boyd says. He called him and asked the tough question —
"But can you tap dance?" — and Hulings gave the pro answer:
"I can brush up." Boyd hired him over the phone. Other local actors
make up the supporting cast and the chorus consists of NAMT students.
The smaller Lady, Be Good, a recreation of
Gershwin's and Fred and Adele Astair's 1924 collaboration, is even
more of a Gershwin revue, mimized to fit in the Soreng Theatre. Lady
is a true classic, with great tunes ("Oh, Lady Be Good!", "Fascinatin'
Rhythm") and an even more convoluted, silly plot than Crazy.
Of course, everything will turn out in the end of this fast-paced
musical. The cast consists of NAMT students. Jack Watson directs,
and Vicki Brabham is keeping her own upbeat pace as music director
for both musicals. In a special tribute to the past, Dick Hyman will
perform during intermission.
Crazy For You runs Aug. 3, 4 and 7 in Silva
Hall. Lady Be Good runs Aug. 6 and 7 in the Soreng. See EW
calendar listings for details .
 |
|
Emerald
City Jazz Cats
|
Concert
Guide
Aug.
1 -- Thursday 7:30 pm
Opening
Gala Concert: 'S Wonderful!, Silva.
OFAM's opening gala always makes
a good sampler for those who can spring for only one concert. This
one has Gershwin songs from stage and screen musicals, plus jazz arrangements
of various Gershwin classics.
Aug.
2 -- Friday 2:30 pm
Heritage Concert: The Gershwin Transcriptions, Shedd.
Piano fans will want to be at this
one. Gershwin made a celebrated songbook of arrangements of many of
his most famous pieces, providing a take-off point for dual pianists
Hyman and Derek Smith.
7:30
pm -- Traditions Concert: The Man That Got Away: An Evening With Gershwin,
Shedd.
So much of the magic of Gershwin
songs comes from Ira's meticulously crafted (he was nicknamed "the
Jeweler" by other songwriters), supremely intelligent, often wry and
surprising lyrics. Even before George died so lamentably young, Ira
worked with other composers, then maintained his sterling career for
decades, supplying words for the likes of Harold Arlen, Kurt Weill,
Jerome Kern, even Aaron Copland and more. What an amazing coincidence
that one of the greatest lyricists and greatest melodists happened
to be brothers. And what a wonderful idea to present a whole concert
of some of these terrific songs, such as "I Can't Get Started."
Aug.
3 -- Saturday 2:30 pm
Heritage Concert: The Unknown Gershwin, Shedd.
This looks to be the best jazz concert of the
series, and one of the best of the summer, featuring some often-overlooked
but tasty gems performed by Hyman's band, including master drummer
Alan Tarpinian.
Aug.
8 -- Thursday 2:30 pm
Heritage Concert: Gershwin As Smooth Jazz, Shedd
Every year, OFAM does one thing so
quirky that you have to admire its sheer weirdness, even if I can't
recommend the music this time. This time it indulges Dick Hyman's
ideas about the sources of today's loathsome smooth jazz. I can see
doing a couple of numbers, but a whole concert?
Aug.
9 -- Friday 2:30 pm
Heritage Concert: If Bix Played Gershwin, Shedd
Another one for the jazzers, this
show features Hyman's arrangements of Gershwin tunes in the style
of the great Jazz Age cornetist Bix Beiderbecke.
7:30
pm -- Classics Concert: An American In Paris, Silva
OK, at last, the real meat of this
year's OFAM, and one of the best Eugene classical music concerts of
the year, featuring Gershwin's two finest concert pieces — the
colorful An American in Paris and the magnificent Concerto
in F. The latter especially is played far too seldom and usually
overshadowed by that blue thing that'll be performed the next day.
The show also features a concert suite from the great American opera,
Porgy and Bess, one of the finest sustained works of music
and theater ever created, and repository of so many unforgettable
tunes — "Summertime," "I Loves You Porgy," "Bess, You Is My
Woman Now" "I Got Plenty O' Nuthin'" and so much more. Just the titles
make you want to sing. Don't miss this one.
Aug.
10 -- Saturday 7 pm
Traditions Concert: Rhapsody In Blue, Cuthbert Amphitheater
The climactic Cuthbert blowout is
always fun, and it's nice to see Hyman et al performing the original
jazz band version of Rhapsody in Blue rather than Ferdi Grofe's
later, more familiar (and ponderous) orchestrations. The show also
contains jazz band arrangements from Porgy and Bess and other
Gershwin classics, Hyman playing along with George G. himself (as
immortalized in piano rolls), and more.
They've
Got a Church
 |
|
The
Shedd, under construction.
|
Jim Ralph's vision is to bridge the gap between the
amateur and professional arts worlds by allowing more opportunities
for students to perform. And he wants to train those kids, starting
at a very young age, in music and theater, giving many a chance to
experience and create art. He's going to do it at The Shedd, formerly
the First Baptist Church, at the corner of Broadway and High.
The Shedd was purchased by Ralph and his wife Ginevra
for $3.25 million. They have dedicated another $3.5 million to remodeling
the mega-monolithic 65,000 square-foot maze. Floor upon floor, room
upon room exist in the vast expanse of the structure, the size incomprehensible
from the outside.
Ralph hopes that many arts organizations and others
will rent rooms in the building for teaching, rehearsing and storing
equipment. There truly is enough room for anyone interested, and many
of those rooms are large, with kitchens and smaller rooms off of those.
The question is what the rent will be, and if the rates will be competitive
with other downtown office spaces.
The Shedd's location will allow the Ralphs not only
the opportunity to bridge the amateur and professional arts realms,
but also to bring together the UO and downtown. Jim Ralph is currently
talking to the UO and other arts organizations to see who is interested
in joining him in The Shedd, to expand his vision of what could be
called The First Church of the Arts.
— Aria Seligmann
OFAM Films
Aug. 2 --
Gershwin in Film, hosted by Stephen Stone, 10 am, Shedd Meeting
Hall.
Aug. 7 -- Damsel in Distress, hosted
by Jack Powell, 10 am, Shedd Meeting Hall.
Aug. 8 -- Shall We
Dance?, hosted by John Attig, 10 am, Shedd Meeting Hall.
Aug. 9 -- American
in Paris, hosted by Jack Powell, 10 am, Shedd Meeting Hall.
Aug. 10 -- Girl Crazy, hosted by John
Attig, 10 am, Shedd Meeting Hall
Table
of Contents
| News | Views | Arts & Entertainment
Classifieds | Personals
| EW
Archive
|