A long, lean, boyish-looking dancer with tap precision and grace, two time Tony Award® nominee and two time Drama Desk winner Gavin Lee physically reminds one of Tommy Tune, facially resembles young Hugh Laurie and distinctly evokes the dance style of Fred Astaire. Especially when singing in his own distinct voice, Lee is more demonstrative than his hero. He exudes his own infectious charm, however, conjuring innocent entertainment and the era when dance was king. The thespian has twice played musical theater roles Astaire originated on film, in Holiday Inn and Top Hat.
The iconic “Top Hat, White Tie and Tails” opens this evening with ebullience. “Cheek to Cheek” emerges with palpable affection – for Lee’s hero, for dance, for the lady in question. (Both Irving Berlin.) “The day Fred and Ginger (Rogers) filmed that number, the damn dress molted its feathers. Fred said it was like a chicken attacked by a coyote.” Dress approval was added to his contract.
Gavin Lee
“Let’s Face the Music and Dance” (Irving Berlin), “Shall We Dance?” (Richard Rodgers/Oscar Hammerstein II), and “You’re Easy to Dance With” (Irving Berlin) successively sway. I suspect were the stage larger, we’d glimpse the artist’s more balletic talent. “Yes, I’m singing to you, love,” Lee assures a woman up front. He zeroes in on particular audience members making performance more personal.
We follow Fred and his sister Adele (nee Austerlitz) from Omaha, Nebraska to becoming darlings of The Orpheum Circuit (vaudeville) at ages nine and seven through the aegis of a determined stage mother. Early on, Adele often got better reviews. Landing in New York, the pair were featured in revues.
George Gershwin worked at a sheet music store Astaire frequented when they were young men. The composer aspired to write for his friends and did. Funny Face and Lady Be Good were the first two Broadway musicals in which Fred and Adele starred. The men are said to have been born in the same key. They were lifelong friends. A second deep relationship developed with Irving Berlin whom Fred met while filming Top Hat. Our most talented songwriters wrote much of their best work for a dancer whose impeccable phrasing showcased lyrics.
Fred Astaire – Publicity Shot (Public Domain)
“In seventeen of his movies, Fred’s character was a dancer; in four, he was one of the boys in the band. Most always, he played a happy-go-lucky guy.” We hear “I Love a Piano”, “No Strings”, (both Irving Berlin) and “Can’t Be Bothered Now” (George and Ira Gershwin). There are songs from Broadway and London’s West End where newspapers cited an outbreak of “Astairia.” The toast of the city, Fred and Adele lived extravagantly and socialized with royalty. Adele met and married a Lord leaving the partnership.
Material is deftly prefaced by Fred’s related life experience rather than just associated with films. Exposition is illuminating and anecdotally fun but might be edited and shared in a more cohesive order. There are too many lists. Two excellent songs written by Astaire himself are well performed but inadvertently uncredited.
Adele’s departure fortuitously synced with Fred’s movie audition. “Can’t act, slightly bald, can dance a little” RKO declared – yet put him under contract. The artist debuted playing himself in Dancing Lady with Joan Crawford. Flying Down to Rio paired him with Rogers, already a veteran. The Gay Divorcee was their first big hit. Cole Porter’s “Night and Day” is performed with elegance and nostalgia. The pair would make ten films together before Rogers moved on to non-dancing roles. “I’m Putting All My Eggs in One Basket” (Irving Berlin) appears almost a comment.
Corey Schutzer, Gavin Lee, Adam Wolfe
Fred worked with Ann Miller, Cyd Charisse, Vera Ellen, Ginger Rogers, Eleanor Powell, Rita Hayworth… “Change Partners” (Irving Berlin) describes the period. The artist retired three times. In 1946, at the request of the studio, he was personally telephoned by Gene Kelly who’d hurt his ankle on the verge of filming Easter Parade. At 48, Fred wondered whether he was up to it. The wonderful film is its own evidence.
“He made everything look so easy, while in reality a painstaking perfectionist. Months before, Fred would go to a room with only a rehearsal pianist and dance director to develop choreography. He’d just let his feet idly ramble.” We watch as slowed accompaniment of “Fascinating Rhythm” (George and Ira Gershwin) ostensibly inspires steps, until up to familiar tempo, Lee dances full out. A nifty parenthesis. Lee’s own choreography is terrific. A lovely, low key “They Can’t Take That Away From Me” (George and Ira Gershwin) ends the show.
A welcome reminder of sophistication, style, and the joy of dance, Gavin Lee’s salute is an evening of delightful respite.
Photos by Alix Cohen
Gavin Lee: Steppin’ Out with Fred Astaire
MD/Piano – Brian Taylor
Corey Schutzer – bass, Adam Wolfe- drums
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