Ted Sperling’s loving tribute to Sheldon Harnick, a founding member of Lyrics & Lyricists, was meant to be a 100th Birthday Celebration. Sperling’s awareness of the lyricist began in a grade school production of Fiddler, reignited playing the fiddler in junior high, and was professionally cemented during the 2015 revival of Fiddler On the Roof, for which he was music director.
Ted Sperling
Harnick passed at 99. A unique talent, the artist was not only one of musical theater’s best, most literate songwriters, but a man who wrote from his heart as well as that of each character. Few have moved us as unfailingly. “To me he’s the most direct and unfussy of Broadway lyricists… embodying humanity and dignity.” (Sperling) This evening offers suites of songs from from the honoree’s shows, predominantly with Jerry Bock – though we’re reminded he mercurially wrote with 20 composers – a few of his own revue compositions, and some excellent songs cut before opening nights. There’s even an example of his work for a Ford Auto industrial.
She Loves Me 1963: Sam Gravitte plays Arpad, the errand boy who aspires to be a sales associate at Maraczek’s in “Try Me.” The actor, who has a fine voice, is too smooth, lacking sweet, awkward youth. Adam Kantor portrays Georg Nowack about to finally meet his romantic pen pal with “Tonight At Eight.” Palpable consternation is decorated by nervous gestures. Sperling offers an excerpt from a song Hal Prince (as a first time Broadway director) rejected for Amalia. The modest effort was replaced by “Will He Like Me?” Anna Zavelson’s beautiful soprano is supported by tremulous insecurity. We can hear her heart pound. As Ilona, Alysha Umphress’s “A Trip to the Library” is too in on the joke missing every comic opportunity.
Highlights
Anna Zavelson
The Apple Tree 1966: Zavelson’s Eve is innocence incarnate during “Feelings”: I’ll be the first to pin a name to what I’m the very first to feel…As the snake, Kantor nearly slithers, stroking the apple with wicked sensuality and a twinkle in his eye: Madam, Adam will be overjoyed…Gravitte gets an ‘almost’ with “It’s a Fish”, which arrives not as funny as it can be.
The Rothschilds 1970: Adam Heller (as papa), Kantor and Gravitte offer a proud “Rothschild and Sons”: There’s another firm in the firmament! they sing determined to rise together. “Everything:” We want everything, everything, everything, just like other men do, the determined ghetto-bound men protest to mama (Umphress) who keeps telling them, “We have enough.” (Why is Zavelson on stage for this?) “In My Own Lifetime” is stirringly rendered by Heller who imbues this song for the ages with gravitas and hope against hope: I want to know without a doubt/That no one can lock us in or lock us out.
Ted Sperling, Adam Kantor, Adam Heller, Sam Gravitte
Bock had been hired for Fiorello 1959, but Harnick was asked to audition with four spec numbers. Stephen Sondheim singled out “When Did I Fall in Love?” as one of the songs he wished he’d written. As performed by Zavelson, shock, confusion and gratitude permeate. It’s simply lovely. Heller, Kantor and Gravitte give us a spirited “Little Tin Box” again, charmingly directed, replete with a little soft shoe.
Tenderloin 1960: A robust “Little Old New York” is presented by the company with cute direction. Sperling points out “the preacher was intended as sympathetic protagonist, but audience was attracted to sex workers and corrupt politicians.” Leave two beats here for current political recognition and audience chuckles.
“OK, it’s finally time,” Sperling says introducing “the elephant in the shetetl,” Fiddler on the Roof 1964: Kantor, who played Motel the tailor in the last Broadway revival, delivers the character’s “Miracle of Miracles” exuberantly unable to contain himself – every gesture just right. Sperling shares “What a Life” which might’ve opened the show had its authors not discerned the musical was not about a single family. (Yes, he can sing.) Half way through, we hear the melody of its replacement, the iconic “Tradition.”
Ted Sperling, Adam Heller; Adam Heller, Alysha Umphress
Heller’s “If I Were a Rich Man” is a master class for Tevyes. He moves with a marvelous amalgam of history and winsomeness, sings with authentic inflection and his chicken imitation is priceless. “Dear Sweet Sewing Machine,” which was cut, pairs Gravitte and Zavelson kneeling over the acquisition like a new baby. An appealing song well performed. “Do You Love Me?”, one of Harnick’s favorites and a song he and wife Margie would perform at parties, is rendered by Unphress and Heller. “So many of Sheldon’s love songs start with a question,” Sperling points out.
In age old Lyrics and Lyricists tradition, “Sunrise Sunset” is presented as a sing-along with the chorus projected on screen. Most audience members know at least some of it by heart. We’re warmed by one another.
Sheldon Harnick- Photo by Robert Armin This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license
Adam Kantor is an asset anywhere, proffering both winning vocals and sympathetic acting. Anna Zavelson – new to me – has a superb voice. The vocalist communicates each character in appealing less-is-more manner. Sam Gravitte sings well but needs to loosen up and find role specifics. Alysha Umphress, whom I have liked before, misses every opportunity for lightness imposing her own sophistication and obvious gestures. Adam Heller is a treasure. Not a note or move feels false. He enchants and moves us.
Sperling’s connective patter is brief, illuminating, appreciative and tender. Projections by Kylee Loera are low key and stylish. Alysha Umphress’ print dresses stood out jarringly on a stage of uniformly dark apparel.
Production Photos by Richard Termine
Opening: Adam Kantor, Anna Navelson, Adam Heller, Alysha Umphress, Sam Gravitte
The 92Y New York Lyrics & Lyricists presents
Wonder of Wonders: Celebrating Sheldon Harnick
Artistic Director, Written, Directed and Hosted by Ted Sperling
Orchestrations- Nick Stephens
