Review of "Gettin' the Band Back Together"

Can a simple-minded, highly derivative musical (with no real stars) succeed on Broadway?  That’s the question Getting’ the Band Back Together needs to be asking itself as it begins its uncharted journey on The Great White Way.

The story is as basic as they come.  Mitch, a 40-year-old stockbroker, is fired and moves back to Sayerville, NJ with his mother.  There, he reunites with high school chums who were all in a band (Juggernaut) that won the area’s Battle of the Bands their last year in school.  Fast forward to the present—the members of the quartet are in unfulfilling careers, with Mitch unemployed and, due to a razor thin plotline, end up, once again doing battle with their arch rival Mouthfeel, the band they defeated for that long-ago title.  At the show’s end, with a gratifying twist, the bandmates find fulfillment and purpose in life.

The book of the show, by Ken Davenport (also the lead producer) and a dizzying array of writers known collectively as The Grundleshotz, have mined for inspiration material from such musicals as School of Rock, The Wedding Singer, and The Full Monty.  You can even throw in the movie Karate Kid.  The material has been recycled many times before—men in the throes of midlife crisis, reviewing their hopes and aspirations, and not being afraid of chasing your dreams. 

The developments are clichéd, but can also be very funny and entertaining in a low brow, goofy manner.  New Jerseyans in the audience, like myself, will be amused with all the Garden State references sprinkled throughout the show (I’m exit 8A off the Turnpike).  Act I is more streamlined and purposeful, but the second act seems overlong and padded with filler as we wait for the ultimate climax.

The happy-go-lucky score by Mark Allen is at its best when producing high octane silliness such as the title number, the opening song, “Jersey,” and even a rap version of “Hava Nagila.”  They are infectious as well as disposable.   

The characters are loosely sketched.  The cast doesn’t have to stretch their acting muscles for their roles.  The main criteria is for them to have fun and emote within broad set parameters.  While each performer is just fine, three stand out.  There is the ageless Marilu Henner as Mitch’s mom, Sharon.  Her spirit is bubbly and infectious.  Jay Klaitz is affable and dopey as the portly Bart Vickers, Mitch’s best friend and possible paramour for his mom.  Sawyer Nunes gives the best performance as the band’s new teen recruit, Ricky Bling.   He exudes self-confidence, is highly excitable, slightly arrogant, and a very talented musician.

The limited choreography by Chris Bailey can be exuberant in a fist-pumping, in-your-face style.  John Rando guides his crew with energy and freeness.  There’s not much subtlety or nuance in his direction.  The goal, it seems, is to keep the pacing quick and effortless.

Getting’ the Band Back Together, a lightweight entry to the new Broadway season.