{"id":4047,"date":"2017-05-24T18:39:33","date_gmt":"2017-05-24T18:39:33","guid":{"rendered":""},"modified":"2020-04-17T17:52:25","modified_gmt":"2020-04-17T17:52:25","slug":"bandstand-on-broadway-war-is-the-worst-but-this-show-is-amazing-html","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2017\/05\/24\/bandstand-on-broadway-war-is-the-worst-but-this-show-is-amazing-html\/","title":{"rendered":"“Bandstand” On Broadway: War Is The Worst But This Show Is Amazing"},"content":{"rendered":"

\"Picture\"<\/a><\/span><\/p>\n

\u200bIn my long, extensive history of theatre obsession, I\u2019ve never been as surprised by a show as I was by \u201cBandstand\u201d.\u00a0 Well at least in the upward direction; I\u2019ve been downward surprised many a time. Considering how few Tony nominations (THEY MEAN NOTHING) it got, how little chatter there was on my online Broadway forums, and how easily I picked up a few rush tickets one afternoon, I didn\u2019t expect much from the new musical. I wanted to see it because I like Laura Osnes, the star, and because I wanted a solid musical to take my sister-in-law to that I hadn\u2019t already seen. Well. Color me thrilled (and badd) because I was sitting there slack-jawed buggy-eyed and wanting SO bad to shout down to the stage \u201cOhh my god oh my god you guys, this is REALLY GOOD did you know??\u201d I didn\u2019t obviously because I am of sound mind but guys it really was.<\/div>\n
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\u201cBandstand\u201d, which has nothing to do with the old Philly-based show \u201cAmerican Bandstand\u201d no matter how badly my parents want it to, tells the story of World War II veterans who return home to Cleveland and form a rocking swing band in order to win a radio competition. That\u2019s the short version I knew going in. What the ads aren\u2019t selling, and what they should be selling, is that the story deals heavily, primarily really, with the PTSD and severe depression the vets are suffering with upon return. And the guilt. So much guilt. It\u2019s so heavy and difficult, watching them struggle to get through each day, singing about how things will be just like they were before but knowing that nothing could ever be like it was before. This group of veterans forms the band not only to win a competition but because it\u2019s the only thing that helps them wake up and get through the day, and playing music is the only time they aren\u2019t completely incapacitated by their demons. The show deals so directly with these serious issues facing veterans, issues that need to be addressed directly in real life but still aren\u2019t, and the show really should be commended for not sugar-coating it at all. In lots of other art it\u2019s like \u2018Oh Johnny drinks every night so he can fall asleep without thinking of all he saw over there\u2019 and that\u2019s all that\u2019s said. In this, it’s that plus stories for every character plus visuals like a platoon of dead soldiers crawling over the piano as our lead tries to play, showing how every moment of his new life is weighed down by his experience.Okay so that sounds like a really sad and unenjoyable show, but it\u2019s not. The severity of what they\u2019re dealing with helps connect the audience to the characters really quickly, and from there we are totally with them on the journey as they find something worth living for. And the music is rollicking and fun and really helps lift everyone\u2019s spirits and provide a sense of joy and hope for the characters. I was surprised by how much I enjoyed the swing music considering the last time I listened to it was begrudgingly at school dances in the \u201890s when it was somehow popular at that sort of thing. I mean it\u2019s not wise to compare Broadway musicians to that f-ing horrendous \u201cZoot Suit Riot\u201d song but still. I\u2019m super impressed by composers Richard Oberacker and Robert Taylor considering I don\u2019t know their previous work.<\/p>\n

Right at the start of the show, we are somewhere in the Pacific Ocean with Corey Cott and a group of soldiers in trenches, just when some really bad things are about to happen (we know from lights flashing and then darkness). In another section of the stage, Laura Osnes is at home being a homemaker (we know because she\u2019s wearing an apron) when a man in uniform rings her doorbell to bring her some awful news, and we deduce that her husband was just killed in that attack when she opens the door, sees who it is, and crumples to the ground sobbing. So all of this is happening with just the orchestra playing, no words or anything, and despite the fact that you haven’t met anyone yet and despite being maybe 30 seconds long it\u2019s so well done that you will 100% cry. Osnes is a TRAYSURE, as Emily Gilmore would say.<\/p>\n

Then the war is over and Corey Cott’s Donny Novitski made it back home to Cleveland. As the ensemble sings about getting back to normal, we see that Donny clearly is too haunted by his experience to know what normal is. He hears about a radio competition looking for the next big swing band, and he thinks it would sure be swell if the winners were a group of just-returned veterans. He sets about finding amazing musicians who have suitably served enough so that they are all broken (maybe not intentional). Meeting the 6 band members is so much fun. Despite not having tons of lines each, they are all given enough time and room to develop individual characters and really make you understand who they are and what they\u2019re going through. Brandon J. Ellis, as big fun Irishman Davy on bass, is the funniest one, making ridiculous jokes and providing some much needed comic relief, although he\u2019s clearly using humor to mask his pain like he does with alcohol. Most of his jokes were new to me, but I loved when the audience roared at one I knew: \u201cA pirate walks into a bar with a steering wheel on his pants. The bartender says \u2018hey, you\u2019ve got a steering wheel on your pants.\u2019 \u2018Arghh\u2019, the pirate says, \u2018and it\u2019s driving me nuts.\u2019\u201d Oh my god it\u2019s so dumb I love it. Davy is full of jokes like this throughout the show, which is much appreciated. At one point, Davy tells the others guys, \u201cI\u2019ve survived mustard gas and pepper spray. I\u2019m really a seasoned vet.\u201d Grooooaaaan\/love it.<\/p>\n

Another standout of the band was Joe Carroll as Johnny on drums. His short-term memory and ability to socialize normally is shot because he suffered serious brain damage, as he tells you over and over, when his jeep flipped three times during an attack. His story is heartbreaking, but he uses humor well to get through it, and seems so good-hearted that you just want to give him a hug. At one particularly moving moment, he admits that despite his brain damage, he\u2019s the lucky one of the group because he has fewer memories disturbing his mind all day. And the man providing most of my agita was Geoff Packard as Wayne on trombone, who had the most trouble reacclimating and pretending that normal life was normal at all. Part of his morning ritual was cleaning his gun in the bathroom, and I was 100% sure that meant he was going to kill himself by the time the show was over, especially since he seemed to be the most unable to return to everyday life. Thank god it was the one time when Chekhov\u2019s gun was wrong, because his struggle to get to a point where life was bearable, thanks to this group, was one of the most emotional. Alex Bender as Nick on trumpet and a wonderful James Nathan Hopkins as Jimmy on sax round out the really impressive group of musicians, and although we get a lot of expected conflict between the troubled men, watching them struggle through their issues and try to create great music together was wonderful. And in case you think it\u2019s a total feel good story where music solves all their troubles and they end the show super happy and smiley, that\u2019s not the case at all. It just helps them get out of bed, one day at a time. The fight is shown as constant, not one that you can win in one battle but one that you fight on a continuous basis.<\/p>\n

By now you\u2019re probably like um where is Laura Osnes in all this besides reigning over everyone like the queen she is? Laura plays Julia Trojan, a name choice I haven\u2019t yet decided how I feel about because it offers a few funny bits but like is it too forced? not sure. Actually it does lead to a stellar display of Laura\u2019s acting in one conversation about it so maybe I\u2019m for it, although the same conversation could have happened with any odd name. Anyway. Donny, as we saw in the opening, was with Julia\u2019s husband when he died. It turns out they had become best friends, and her husband made Donny promise to look after Julia if he died. Later in the show, more comes out about her husband and his death that I could not have seen coming, and through my horror I was more and more impressed at how much this show kept surprising me without sacrificing substance or form. Donny sees Julia sing in church and is blown away like we all are because she can sang, and he asks Julia to sing with him in the band. I\u2019ve seen Corey and Laura before, but their vocals in this show are astounding. You\u2019ve never heard Laura, usually very angelic and sweet-voiced, belt as insanely as she does here, and Corey\u2019s vocal strength constantly wows too. And he\u2019s playing the piano the entire show, which is so impressive. (Or at the very least he\u2019s really convincingly pretending to play the piano.) He needs to be Broadway’s next sure-thang leading man because hot damn, Corey Cott. Hot damn.<\/p>\n

In the first act, the show blends the more serious moments with the band\u2019s performances around town as it tries to build up its repertoire and name. These gigs are upbeat and tons of fun, in large part due to the eye-popping choreography. This is when Andy Blankenbuehler, director and choreographer who won the Tony for choreographing \u201cHamilton\u201d (and \u201cIn the Heights\u201d), gets to shine with his crazy (and I mean CAH RAZY) lifts and throws and super frenetic and energetic dancing in the ensemble. Morgan Marcell (who was also in \u201cHamilton\u201d) fully distracted me from the band\u2019s performing and Laura\u2019s singing during these scenes as she was like doing figure skating spins and throws but like not on ice. I am in awe. Remember the amazing spin Aaron Tveit and Julianne Hough did on \u201cGrease: Live!\u201d during the Hand Jive<\/a>\u00a0(should play that exact moment)? The dancing in these gig scenes was like that but more intense and for the entire time. dammmmn. I don\u2019t like spoiling but here is one little sneak peak. <\/a><\/p>\n

Another thing that helps lift the spirits from super depression is the performance of Beth Leavel as Julia\u2019s mother, who now lives with her widowed daughter. Beth Leavel is pretty big deal in musical theatre, so at first I was kind of like \u201cughhh we\u2019re at the point where Beth Leavel is getting jobs as the ing\u00e9nue\u2019s mother<\/em> onstage for like five minutes?\u201d But, as I should have expected, Beth turns her small-ish role into a hilarious at times, lovely at other times portrayal and really makes her time onstage meaningful. She gets a touching, beautiful song called \u201cEverything Happens\u201d, about how not everything happens for a reason, but it just happens and we have to get through it somehow, and it’s wonderful. A rare occurrence of that sort of honest sentiment. And she gets to be hilarious as promised during a dinner scene, entering silently with a plate of deviled eggs so red that I was struck and distracted by the color from my balcony seat. I just thought oh that\u2019s a weird move by the prop department. But then Julia and Donny stop talking, look to the eggs and then to Beth and she says, \u201cThe lid came off the paprika.\u201d Her delivery was so deadpan and amazing that the audience actually broke into applause. So funny.<\/p>\n

Despite being a relatively long show (the first act alone is an hour and a half), it felt shorter than most because of how engaging everything was. We\u2019re there every step of the way as the band tries to make it, and more importantly as the guys try to stay in control of their mental states enough to get through a performance. It\u2019s brilliant to see them decide to stop pretending like everything is fine, and that if they are going to sell themselves as a band of vets then they should be singing about real issues vets face. The band\u2019s big song in the radio competition, \u201cLove Will Come and Find Me Again\u201d, is flipping amazing and I cannot wait to get the cast album oh my god they better make a cast album. The melody and the lyrics aren\u2019t revolutionary, but the character’s sharing is, and the song is perfectly catchy and solid and the performance is so exhilarating and gorgeous that you can\u2019t believe any other competitors came close. And their big climactic performance of their very risky song \u201cWelcome Home\u201d is like if anxiety were set to music, kind of hard to listen to but completely on purpose, and so riveting that you\u2019re scared to blink or breathe lest it affect the magic being created. And also you can\u2019t breathe because if you do the breath will catch in your throat and you will sob.<\/p>\n

So the music is so much fun and often incredibly moving, the dancing is awesome, the book is more sophisticated and smarter than most, and the performances are wonderful across the board. At first I thought maybe the direction was overdone, because Andy loves him some busy choreo to the point where it’s sometimes distracting (like in Hamilton) but there are so many moments of brilliance. Andy is a stronger choreographer than director, given his background, and at times there probably should have been another voice tempering the movement. What works with his choreography in ensemble numbers is that it\u2019s busy and frenzied and always interesting to watch. In non-dancing moments, that kind of thinking could be too busy, but here it often works, especially with the ghosts of their service haunting the men constantly. It’s a lot, sometimes too much to know what to focus on, but for this particular show it’s effective. Once, during Donny’s big first song, Andy\u2019s signature kinds of movement were obvious (standing with his legs tightly pressed together with bent knees swinging left and right, a little hunched in the back. I feel like that\u2019s how Andy himself is always moving). It was a little distracting because I remember thinking \u201cOh that looks like Andy!” not exactly the character. There were little moments like that peppered throughout where the movement didn’t match the action or characters. But for the most part, it was nearly flawless staging.<\/p>\n

I really can\u2019t get over how impressed I was with it. Even expected tropes like the inevitable budding romance between our two leads as they help each other work through their shared grief is done in a way that keeps it from being predictable. First of all, Laura and Corey\u2019s chemistry is off the charts. It really was remarkable, so strong that when I remembered Laura is married in real life I was like aw. Second of all, it\u2019s not a clear-cut romance in the least. Their big song together, once they\u2019ve grown closer and everyone else knows they have feelings for each other, is not a love song. Instead it\u2019s them admitting that because of who they are and what they\u2019ve gone through, nothing can happen between them. It was so well done and made their story more realistic and emotional.<\/p>\n

This is a pretty stellar Broadway season and, even with a lot of good work happening, this ranks up there as one of my top shows of the year. I know, I can\u2019t believe it either. But aside from Act II getting a little loose in the cage, it\u2019s an endlessly enjoyable, thought-provoking, moving, harrowing, and ultimately uplifting show that hits all the marks necessary to make you cry, laugh, and smile a lot. A lot a lot. Now that \u201cDear Evan Hansen\u201d is sold out for probably as long as the earth has left, this is the show I\u2019m most hoping succeeds. Go buy tickets, everyone, so it doesn\u2019t close because I kind of want to see it again and I can\u2019t go back to NYC until the fall!<\/p>\n

THEATRE INFO<\/strong><\/u>
\nToilets are in the basement, and only in the basement! Luckily there is only one mezzanine level, but still, that means at intermish you are running down two flights of stairs. It moves okay though.<\/p>\n

Rush tickets ($30) are generally easy to get. No one is camping out at 4am like for other shows. After those sell out, the box office offers \u2018secondary rush\u2019 at $49. These seats actually have a better view than the first wave of rush, so it\u2019s worth the extra money to wait.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u200bIn my long, extensive history of theatre obsession, I\u2019ve never been as surprised by a show as I was by \u201cBandstand\u201d.\u00a0 Well at least in the […]<\/p>\n","protected":false},"author":2,"featured_media":4048,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[147],"tags":[],"class_list":["post-4047","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"\n"Bandstand" On Broadway: War Is The Worst But This Show Is Amazing - Laughfrodisiac<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laughfrodisiac.com\/2017\/05\/24\/bandstand-on-broadway-war-is-the-worst-but-this-show-is-amazing-html\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""Bandstand" On Broadway: War Is The Worst But This Show Is Amazing - 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