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Our Sinatra |
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Author: Music and Lyrics by many composers and authors
Continuity by Eric Comstock, Christopher Gines,
and Hilary Kole.
Reviewer: Carolyn Albert for Theatre Reviews Limited |
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One couldn't grow up in the mid-20th Century without having memories of important moments in one's life that reawaken when hearing a Sinatra recording.
Frank was omnipresent for so many years that three generations of our family have their own sweet and sad recollections. Among these are going with a long-deceased girlfriend to the far-in-the past Paramount in Times Square to see Frankie and scream; making out in the family car or darkened livingroom to Frank's romantic tones on the victrola or stereo; celebrating a major anniversary by attending one of his shows in New York or Vegas; tuning in faithfully every week to a no-longer-existent radio station to hear Jonathan Schwartz rhapsodize and recollect anecdotes; or suddenly discovering him as hip, hot and appealing.
  
It was daring and brave of Comstock and company to even attempt a musical recreation of songs we associate with Sinatra. First, they were sure to omit at least one special song that each of us hugs in memory. Second, comparisons would be made, since nobody they could cast could even hope to come close to a Sinatra rendition. Accepting those obstacles as part of the price to be paid, they surely gathered their courage to forge ahead.
The results are a gift. "Our Sinatra" is fully charming. Wisely, the three writer/performers don't try to parallel their subject's life with their patter. Instead, they follow a precept of Cabaret: reveal what that next song means to you. The result is a pleasant balance that gives us a smidgen of information about the singer's connection to Frank, ranging from career influence (Gines), graciousness to a boastful dad in a tight spot (Kole), to an admission of very little contact other than just liking the singer and his songs (Comstock).
Each of the three performers could carry a show on his/her own. Christopher Gines is young, tall, handsome, and personable. His powerful voice that extends from baritone to tenor works best here when singing the earnest ballads of the youthful Sinatra. His "From Here to Eternity" is heavenly to listen to. Few would dare "Old Man River," and he carries it off.
Hilary Kole is equally youthful, quite lovely and slim, and has a smooth chest-to-head range that fits the music perfectly. She changes outfits throughout the show several times, always sticking to form-fitting sheaths that display her slenderness. Highlights of her solos include a big emotional "I'm a Fool to Want You," a wonderfully plaintiff "It Never Entered My Mind," and a daring Ella-style "I've Got The World on a String."
Eric Comstock brings sophistication and a relaxed tone to the proceedings; he's a cabaret favorite who knows how to put across a light verse like "I Like to Lead when I Dance" or a well-phrased ballad like "All the Way" or "I'm a Fool to Want You." His rendition of the less familiar "To Love and be Loved" was simply gorgeous.
The very best musical moments occurred when two or all three harmonized. Although no specific credit is given in the program for musical or vocal arrangements, I'd guess they're by Comstock, who played nearly the entire show at the piano, well accompanied by Dean Johnson on bass. These highlights included Chris & Hilary blending tones in "Nice 'n' Easy," Eric & Hilary in a jazzy "Day In - Day Out," and Eric & Chris in a playful "The One I Love Belongs To Somebody Else." "I'll Never Smile Again" was given an ear-pleasing three-way harmony that was far too brief as it was just one of over two dozen song fragments in a fun monster medley. We had to wait till the finale for another sweet three-way harmony to "Put Your Dreams Away (For Another Day.)"
Both men wear bow ties, that Sinatra symbol. The set consists of a photo of the youthful crooner perched on the piano with a painted backdrop of pork-pie hats on an orange background, both associated with Sinatra. Direction by Kurt Stamm reflected good choices. None of the singers attempted songs that were out of their range or talents. Although the show was lengthy, it was consistently entertaining, with the order of numbers balanced for mood and pace.
There is no minimum for food and beverages which are available at nightclub prices.
Reviewed on December 30, 1999; show opened December 19, 1999 for open run
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Produced by Jack Lewin and Scott Perrin. Conceived by Eric Comstock, Christopher Gines, and Hilary Kole. Directed by Kurt Stamm. Production supervised by Richard Maltby, Jr. Sound Design by Matt Berman. Lighting Design by Jeff Nellis. Set Design by Alan Moyer. Formalwear by Chaps Ralph Lauren and Perry Ellis.
CAST: Eric Comstock, Christopher Gines, and Hilary Kole. Theater: The Blue Angel, 323 West 44th Street (8th-9th Avenues)
Schedule: Monday, Wednesday - Saturday at 8, Wednesday at 2:30, Sunday at 3 & 7:30.
Tickets: $50/55 (premium ringside seating is $75/80. Reserve through Telecharge: 212/239-6200.
Audience: Everyone. No profanity or nudity, just good music.
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