In the world of theater, there is one popular saying: the show must go on! No matter what problems are happening behind the scenes or outside the auditorium, it is the performers’ job to get on the stage and entertain. Whether it’s Shakespeare or a crude slapstick routine, the arts have a way of transcending medium and uplifting the hopes of those watching. It’s especially true of U.S.O. shows during World War II, which became famous for bringing out top-named artists to entertain the troops and remind them of their patriotic duty.
It's a reminder that plays before the curtain rises on The Andrews Brothers. Surrounded by familiar red, white, and blue regalia, old footage shows entertainment of yesteryear, preparing the Musical Theater West audience for what’s to come. With people dressed in uniforms, playing reverie, and even marching in unison, the black and white footage transports. Given that the jukebox musical to follow references one of the U.S.O.’s most recognized bands, it makes sense that the lighthearted experience is put into greater context.
The only real issue with The Andrews Brothers is that it’s a collection of timeless songs in search of a musical. Yes, those who stick around for Act II will get that U.S.O. show promised in the spangling artwork. There will be plenty of pizzazz and era-appropriate comedy to accompany the numbers. However, there comes a point where the show itself becomes deathly dull. Anyone expecting the central characters to be these memorable, three-dimensional leads may end up disappointed. They’re all defined each by one foible whose eccentric comedy is played at high pitch. For instance, a character with sight impairment has exactly the joke you’re thinking of, which is the one-two punch of losing glasses and immediately running into a wall during an otherwise well choreographed number. It’s funny a few times, but it’s one of the many ways the main draw becomes a tedious affair.
Which is a shame because the four actors tasked with putting on the show are fairly charismatic. The show centers around a group of technical engineers (the titular “Andrews Brothers”) who are tasked with having to put on a U.S.O. show in Hawaii when The Andrews Sisters cancel due to health concerns. It’s a story not unlike Noises Off! which uses its structure to do set-up and execution over the two acts. Starting with a behind the scenes Act I, the three men Lawrence (Jonathan Arana), Max (David Engel), and Patrick (Larry Raben) are slowly convinced by singer extraordinaire Peggy Jones (Krystle Rose Simmons) to overcome their shyness and be the performers their klutzy bodies have held them back from being.
Despite any shortcoming in the script, the actors have charming chemistry that captures an upbeat, can-do attitude that overcomes the lack of world building. The plot is predictable and the development is paper-thin. Very little about the characters or plot changes over two hours. In fact, many numbers are poorly shoehorned into the narrative without caring how sensibly they advance the story. It’s often best just to think of them as this empty calories comedy where the spectacle is the point. When they begin dancing, it’s best to focus on the clever choreography and reverential nostalgia. With 25 hits of the 1940s, there’s plenty to tap your toes to even as everything in-between feels turgid and pointless.
The unfortunate reality is that Act I works best as dead weight, stapling together songs for a plot that was better summarized in 10 minutes. Act II feels like the story that The Andrews Brothers really wanted to tell, and it’s much more entertaining despite having even less plot. It’s the parody of U.S.O. performances that often latches onto a good gag, finding the actors mostly in drag finding mishaps with everything from set changes to their own outfits. Along with some audience participation, the show feels more electric. This is in large part because of the production stripping away (no pun intended) any artifice and being a silly calamity.
Those who are looking for a satisfying story with memorable characters, look elsewhere. If you’re more interested in hearing four actors sing classics like “Boogie Woogie Bugle Boy” or “Don’t Sit Under the Apple Tree,” then this has more of an appeal. It’s not quite a concert, though it should be. If nothing else, it could do with tightening of the physical comedy and expansion of the elements that work. It’s decent in chunks, but cumulatively it can be quite a chore. As a show designed for WWII nostalgists, it has something to offer, though that’s mostly in pointing out how ridiculous U.S.O. shows can be in the wrong hands. Everything else is vanilla and forgettable.
The Andrews Brothers is a disappointing show not necessarily because of the Musical Theater West production, but because of the source material. After a rough Act I, the second half lands a lot smoother thanks to willing actors doing everything to balance solid harmonies and wacky sight gags. For those just wanting a fun, patriotic outing, it offers enough. For those who want great theater, it’s severely lacking. It’s at odds with itself in that regard and the results are a messy drag at times. If nothing else, it’ll make you want to pull out the old vinyl’s and dance the night away, remembering so many catchy tunes along the way. It’s not a lot, but it’s something.
Comments
Post a Comment