Cabaret Scenes Theatre Review

Although I have a few reservations, I enjoyed George M! immensely. I strongly recommend Westchester Broadway’s production, well directed and choreographed by Richard Stafford. The score is sensational—from surefire Cohan hits like “Give My Regards to Broadway” and “Over There” to lesser-known gems like “Musical Comedy Man.” Even the underscoring is unusually rich with melody. This is the best score I've heard at this theater in years. And this production boasts the best dancing I've seen there in years. It’s worth the price of admission just to see the utterly beguiling and unusually imaginative choreographed “Popularity.” The costumes (Leon Dobkowski) are a delight, and the lighting (Andrew Gmoser, with period-authentic emphasis on footlights) is wonderfully evocative.

An unusually strong ensemble—led by John Scherer as George M. Cohan, with Jim Walton and Melody Wolford as his parents—tells the Cohan story briskly and clearly. And a couple of impressive dancers—Glenn Giron and Alec Varcas—add to the joy. Scherer’s dancing—from every bob of the head, to jaunty prance of the legs—is spot on. Even his body language, when just standing, is wonderful. Scherer knows well this role, which he played years ago at Goodspeed Opera House. However, if truth be told, he is now older than what is ideal for this role (with a suggestion of a middle-aged paunch). That is not a deal breaker, but must be mentioned. The script (Michael Stewart and John & Fran Pascal) has always been problematic. The story ends on something of a low note, with an older Cohan being put in his place by a younger man, which is not a smart choice dramatically. And Cohan is portrayed throughout less sympathetically than in the film Yankee Doodle Dandy.

The original Broadway production (which I saw) wisely brought the mood up again by adding an epilogue that included some of Cohan’s most rousing songs. Oddly, that epilogue is omitted here. (It was omitted, too, when I saw the show years ago at Goodspeed—a mistake then, a mistake now). And a couple of the beautiful ballads, like “Nellie Kelly” and “Mary,” would go over even better if sung more simply and directly from the heart. But these reservations are relatively minor in the grand scheme of things. I’d see this production again if I could. Go! Bring your whole family.

Chip Deffaa
Cabaret Scenes
June 8, 2012
www.cabaretscenes.org



	George M! Westchewster BroadwayTheatre Elmsford, NY
Although I have a few reservations, I enjoyed George M! immensely. I strongly recommend Westchester Broadway’s production, well directed and choreographed by Richard Stafford. The score is sensational—from surefire Cohan hits like “Give My Regards to Broadway” and “Over There” to lesser-known gems like “Musical Comedy Man.” Even the underscoring is unusually rich with melody. This is the best score I've heard at this theater in years. And this production boasts the best dancing I've seen there in years. It’s worth the price of admission just to see the utterly beguiling and unusually imaginative choreographed “Popularity.” The costumes (Leon Dobkowski) are a delight, and the lighting (Andrew Gmoser, with period-authentic emphasis on footlights) is wonderfully evocative. An unusually strong ensemble—led by John Scherer as George M. Cohan, with Jim Walton and Melody Wolford as his parents—tells the Cohan story briskly and clearly. And a couple of impressive dancers—Glenn Giron and Alec Varcas—add to the joy. Scherer’s dancing—from every bob of the head, to jaunty prance of the legs—is spot on. Even his body language, when just standing, is wonderful. Scherer knows well this role, which he played years ago at Goodspeed Opera House. However, if truth be told, he is now older than what is ideal for this role (with a suggestion of a middle-aged paunch). That is not a deal breaker, but must be mentioned. The script (Michael Stewart and John & Fran Pascal) has always been problematic. The story ends on something of a low note, with an older Cohan being put in his place by a younger man, which is not a smart choice dramatically. And Cohan is portrayed throughout less sympathetically than in the film Yankee Doodle Dandy. The original Broadway production (which I saw) wisely brought the mood up again by adding an epilogue that included some of Cohan’s most rousing songs. Oddly, that epilogue is omitted here. (It was omitted, too, when I saw the show years ago at Goodspeed—a mistake then, a mistake now). And a couple of the beautiful ballads, like “Nellie Kelly” and “Mary,” would go over even better if sung more simply and directly from the heart. But these reservations are relatively minor in the grand scheme of things. I’d see this production again if I could. Go! Bring your whole family. Chip Deffaa Cabaret Scenes June 8, 2012 www.cabaretscenes.org

George M!

Westchewster BroadwayTheatre Elmsford, NY

Westchewster BroadwayTheatre
Elmsford, NY