Harmony – A New Musical – Worthy

The real Comedian Harmonists, six German male singers from various walks of life, were internationally popular between 1928-1934. A wide repertoire modeled (from recordings) after the American group Revelers featured folk, classical and contemporary songs presented with deft vocal blending and a dash of wry humor. As the Weimar Republic gave way to National Socialists (the Nazi Party), the group’s survival became at first tenuous (they were considered decadent), then impossible. Three members were Jewish, one married a Jewish woman. With some liberties taken, this is their story.

The real Comedian Harmonists – Public Domain, Bulgarian Archives State Agency. 

Eighty-something Rabbi (Chip Zien), the only surviving member of the group, relates its history stepping in and out of additional characters. (Curiously the program lists other actors in these roles.) The indefatigable artist is marvelous. He sings, dances and turns on a credible emotional dime, ultimately moving us greatly.

1927 Berlin. Out of work actor Harry (Matthew Mucha) advertises for five young men to join a new singing group on spec. He “hires”: Lesh – a waiter (Stephen Telsey), Erich – a med student (Eric Peters), opera singer Bobby (Sean Bell), Rabbi – whose nickname comes from his having left rabbinical school (Danny Kornfeld) and a former whorehouse pianist nicknamed Chopin (Blake Roman). Keeping their day jobs during the Depression, the men rehearse when and where they can and are discovered busking. Rabbi’s Christian girlfriend Mary (Sierra Boggess – heavenly voice, solid acting) and Chopin’s rabble-raising girlfriend Ruth (Jessie Davidson) follow and encourage.

Chip Zien – adult Rabbi

The Harmonists get a break at Club Cinderella, but are hidden behind a curtain while Marlene Dietrich (Chip Zien, fabulous in fishnets and heels) sings out front (sounding like a hoarse Elmer Fudd). A Nazi officer in the audience turns out to be a fan and asks for autographs. Several Harmonists hesitate, but only Ruth is seriously wary.

By 1930, they’re booked at the classy Barberino and sink pooled funds into tuxedos, which get stolen out of the office. A highly choreographed, ostensibly adjusted number finds them in waiter jackets and boxer shorts gleefully pushing tables on wheels or strategically holding metal trays for discretion, thus “Comedian” Harmonists. They’re a hit. The two couples marry (nicely staged). Traditional stomping on wine glasses (a reminder of the destruction of the temple in Jerusalem and/or an indication that “as this glass shatters, so may our marriage never break”) is followed by an explosion, indication of encroaching danger.

Mary and Rabbi (Sierra Boggess and Danny Kornfeld Ruth and Chopin (Jesse Davidson and Blake Roman)

The Comedian Harmonists go on a lengthy tour. We catch up with them at Carnegie Hall in 1933. Among celebrities they meet is Albert Einstein who renounced German citizenship, emigrated to the United States, and by 1940 would be an American citizen. The professor is shocked the Harmonists are unaware of the gravity of what’s occurring back home. Ruth, who remained behind to protest, thinks things are going “their” way, a radical misconception. Einstein suggests the group may not have a home to which they can return.

Nazis banned (or destroyed) the work of Jewish artists in all fields declaring it Entarte Kunst = degenerate i.e. the artists’ mental, physical and moral capabilities were labeled “in decay.” In music, Jewish composers like Felix Mendelssohn and Gustav Mahler were condemned. Jazz and swing was edited or barred citing solos, drumbeats, and scat as being “negroid influenced.” The preceding avant-garde 1920s pushed boundaries. National Socialists’ taste seemed to differ, while in truth, it was the race or ethnicity of artists that determined categorization. The Comedian Harmonists were culpable on both fronts.

Zal Owen, Danny Kornfeld, Steven Telsey, Eric Peters

In New York, NBC was interested in the group, giving them a soft spot on which to land should they decide to stay. They operatically argue. Those who want to go home win. A gang plank drops. “No!” shouts the elderly rabbi. This is neither the first nor last time he condemns himself for not speaking up.

Appearing at a benefit in Germany (great dance number), they’re heckled by young Nazis The familiar officer/fan intercedes, but relations are no longer friendly. Jewish members are a liability, they’re told. For the moment, however, the Harmonists are useful as “international goodwill ambassadors.” Determined not to play the conscripted role, outside the Fatherland the group skewers the Reich with pointed material. An imaginative, well written marionette number is as scathing as anything in Cabaret (or actual Kabaret, darkly satirical German entertainment). “You don’t have to be dumb to give up freedom, but it doesn’t hurt,” they sing. It’s noticed.

Ruth and Chopin argue. (The women’s experience is adroitly given space.) Members discuss the necessity of splitting up. They agree to make a series of films for cash in order to fund that eventuality, but are threatened sooner than expected. Wrenching separation occurs on the fly. Elderly Rabbi informs us what happened to each individual during and after the war. Though wracked with guilt, he feels blessed by memories.

Zak Edwards, Chip Zien

Actors playing the six Comedian Harmonists are all multi-skilled thespians. Each is given distinctive passages with which to manifest personality. Voices are outstanding, dancing excellent. As young Rabbi, Danny Kornfeld is both believable and sympathetic and oh, he can sing! Blake Roman’s’ Chopin (think James Dean) goes from happy-go-lucky to convincingly agonized.

Director/Choreographer Warren Carlyle excels at both arts, creatively occupying a smaller stage, concocting buoyant dances, giving his actors sufficient time to persuasively emote.

Barry Manilow’s music is surprisingly (for the source) unhummable and unmemorable, but contextually works. Stronger influence of German melody/tone of the era would’ve added authenticity. Vocal arrangements are splendid. Bruce Sussman’s book works well, but his lyrics are only occasionally special – meaning original, specific, telling.

Beowulf Boritt’s mirrored set effectively provides wider context when not covered with evocative video by Batwin and Robin Productions.

Lighting (Jules Fisher/Peggy Eisenhauer), costumes (Linda Cho/Ricky Lurie) and wigs (Tom Watson) are of top quality. Sound design (Dan Moses Schreier) is pristine.

Overall, story, talent and production values make up for a less than brilliant score. Harmony is powerful, entertaining theater

Photos by Julieta Cervantes

Opening: Blake Roman, Steven Telsey, Zal Owen, Danny Kornfeld, Eric Peters, Sean Bell

National Yiddish Theatre Folksbiene presents
Harmony – A New Musical
Book & Lyrics- Bruce Sussman
Music – Barry Manilow
Directed and Choreographed by Warren Carlyle
Music Director- John O’Neill
Vocal Arrangements – Barry Manilow

Extended Through May 15, 202                                                                                                   The Museum of Jewish Heritage Edmond J. Safra Hall