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The Band Wagon - New York City Center Encores!
by Joel Benjamin New York City Center Encores! has spun the classic 1953 Fred Astaire/Cyd Charisse MGM musical film The Band Wagon into a delightful entertainment—warm-hearted, smart, sexy and richly satisfying. Just as that film was inspired by the 1931 Broadway revue (Astaire’s last Broadway show and last appearance with his sister, Adele), Douglas Carter Beane has in turn taken the film’s Comden and Green plotline, giving it a brand new shape, pacing, with loads of witty observations, retaining and supplementing the beautiful Howard Dietz/Arthur Schwartz score. The film’s characters and plot have been wittily rejiggered by Carter Beane. The Dietz/Schwartz songs now fit more organically into the slight storyline—immeasurably helped by Katherine Marshall’s energetic direction and choreography. The Astaire character, Tony Hunter (Brian Stokes Mitchell), still hopes to re-ignite his fading film career by returning to Broadway in a new musical written by his former best friends Lily and Lester Martin (Tracey Ullman & Michael McKean) but has been given more of a back story. Tony has burned some bridges which includes an affair with Lily, the memory of which hangs over their upcoming collaboration. British director/actor Jeffrey Cordova (Tony Sheldon), known for his serious classical productions and modern dance star Gabrielle Gerard (Laura Osnes) are brought on board for the project. Jeffrey is no longer the tyrant of the movie, but a sweet guy with a surprising romantic side. Gabrielle’s egotistical boyfriend and choreographer, Paul Byrd (Michael Berresse) is enlisted to help stage what starts out as a lark and becomes a disastrous dud, hilarious in its pomposity and pretentiousness. Tony, as in the film, takes charge and turns the show into a huge hit, finding a new love and a new life in the process.
The audience is treated to a long list of beautifully staged Dietz/Schwartz hits, including the popular title anthem and the thoughtful “By Myself,” the hilarious “Triplets” plus two love songs that weren’t in the film: “Something to Remember You By” and “Something You Never Had Before,” the former sung by Lily and Lester rekindling their love, the later by a radiant Gabrielle as she ponders her feelings for Tony. This ready-made score is rich, hummable and, although a tad shoe-horned onto the plot, is used with cleverness and intelligence. The musical still takes place in the very colorful—and very fictional—Fifties—brought to life in William Ivey Long’s costumes and Derek McLane’s economical sets. The language, including some mild sexual innuendo, is more sophisticated and pointedly satirical than in the film making this Band Wagon more than just a revue. Brian Stokes Mitchell is wonderful as Tony. He even manages a credible tap dance routine in the finale. Tony Sheldon is the life of the party as Jeffrey Cordoba spinning every line and lyric into gold. Laura Osnes, a fine singing actress, is a bit pallid as Gabrielle. She tries hard, but is a tad miscast.
Tracey Ullman and Michael McKean as the battling Martin’s are terrific, fleshing out a complex relationship while singing their hearts out. Don Stephenson makes Cordoba’s right hand man, Hal, both moving and funny while Michael Berresse’s Paul Byrd, whose sexy ballet becomes a bone of contention, is annoyingly funny. The Encores! The Band
Wagon is a total delight, breathing new life into a classic MGM film. 
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