MAESTRO
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Cititour.com Review
Few 20th century figures made more of a contribution to America’s musical scene – classical, theatrical, and otherwise – than the late Leonard Bernstein. The composer-conductor was both insanely popular, his face a regular fixture on television through such shows as Omnibus and The New York Philharmonic’s Young People Concerts – and ultimately highly controversial, primarily for his liberal politics and open bisexuality. In short, Bernstein is a tall order for any performer and dramatist, which is just one of the many reasons to admire the ultra-versatile Hershey Felder, the author and star of the often thrilling Maestro, now at 59E59 Theaters.
While Felder barely resembles or even sounds much like his subject (a fact reinforced by the screening of one of Bernstein’s TV appearances that plays for about 30 minutes before the show begins), there can be little question how thoroughly he understands his complex subject. Growing up in an unhappy, heavily Jewish household in Lawrence, Massachusetts, seeking to satisfy his ever-disapproving dad, the young Bernstein latches on to numerous father figures (most notably, the great conductor Serge Koussevitsky) on his rise to stardom and worldwide fame.
But, as many of us learn here for the first time, no amount of applause, recognition, or, frankly, sex with men could bring Bernstein the satisfaction he most craved: the writing of a piece of classical music that would put in the same league as Beethoven, Brahms, or even Wagner (all of whose works are performed are with brilliance by Felder during the 105-minute evening). In the end, the closest Bernstein came is the music for “Somewhere,” the lovely ballad-cum-dance-music from the Broadway megahit West Side Story, which Bernstein) makes no bones about being a second-rate substitute for his true ambition.
As an actor, Felder does a very fine job in capturing Bernstein’s mood swings, his frustration, and his enormous ego. He’s a gifted enough mimic to differentiate many of the people he talks about, although his European accents have a bit of a sameness to them. As a writer, he provides enough basic information and intimate details to create a reasonably full-bodied portrait of Bernstein, and deserves praise for not shying away from his subject’s less appealing characteristics. Wisely, as well, he’s left the directing chores to the veteran Joel Zwick, who knows mostly how to keep out of Felder’s way.
Still, most audiences will appreciate the show primarily on a musical level as Felder, both a highly gifted pianist and vocalist, works his way through both numerous non-Bernstein compositions (Including a small section of George Gershwin’s “Rhapsody in Blue,” which Felder openly derided), as well as a generous helping of Bernstein’s own singular, sensational creations. In listening to these works, it’s almost impossible not to get carried away on a Bernstein melody, and fall more than a little bit in love with Hershey Felder.
By BrianScott Lipton
Visit the Site
http://www.59e59.org
Open/Close Dates
Opening 8/31/2016
Closing 10/23/2016
Theatre Info
59E59 Theaters
59 East 59th St
New York, NY 10022
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