Review of "Hershey Felder as Irving Berlin"

NOTE:  The Irving Berlin show is now playing at the Westport Country Playhouse through August 3rd.  This is the same production that was at Hartford Stage earlier this summer.

The performer/pianist Hershey Felder has been captivating Hartford audiences for years with his one man shows of famous composers.  Previous embodiments have included George Gershwin, Leonard Bernstein, Leopold Tchaikovsky, and Beethoven.  His latest personification is of songsmith Irving Berlin, who’s career as a writer of iconic popular songs, movie scores, and Broadway musicals, spanned over five decades. 

Felder’s concept for the show is similar in approach to his previous incarnations.  There is an abundance of historical and biographical recitations mixed in with a generous helping of dazzling musical performances.  The formula can be a little schmaltzy, but Felder, in his earnestness and showmanship, makes the production thoroughly engaging.

The show leans heavily of Berlin’s life and music before World War II.  After quickly setting the scene—Berlin and his Jewish family emigrating to the United States from Russia—and whisking through his teenage years, Felder introduces the composer’s first huge hit in “Alexander’s Ragtime Band (1911).”  From there, a succession of recognizable treasures is presented, including "Always" (1925), "Blue Skies" (1926), "Puttin' On the Ritz" (1928), “Easter Parade” (1933), “God Bless America” (1938), and “White Christmas” (1942).  No wonder when the composer Jerome Kern was asked, "What is Irving Berlin's place in American music,” the response was “Irving Berlin has no place in American music -- he is American music.”

The almost two-hour, intermission-less production packs in a great deal of musical gems and stories.  The problem for Felder, who also wrote the show, and Director Trevor Hay is deciding what to include, what to gloss over, and what to leave out in the composer’s illustrious career.  Scenes about Berlin’s army service and deep-felt patriotism are given ample attention, but his well-established movie composing career is relegated to a video montage of Fred Astaire singing/dancing to some of his best-known film songs.  More disappointing was Felder’s brief review of Berlin’s Broadway musicals.  While not every show was a hit - Annie Get Your Gun and Call Me Madam - these musicals and the less successful ones, which include Miss Liberty and Mr. President, produced a cornucopia of riches.

Director Trevor Hay gives the production an easy-going flow, seamlessly blending Felder’s masterful piano work with his biographical snippets.  He incorporates an audience sing-a-long a few times during the show, which is heartily welcomed by those in attendance.

Stacey Nezda’s scenic design is warm and cozy, with a holiday feel to it. Christopher Ash and Lawrence Siefert’s projection work is finely integrated into the production without being a distraction.

Hershey Felder as Irving Berlin, an exceedingly captivating show, playing at Hartford Stage through June 30^th.

-->he performer/pianist Hershey Felder has been captivating Hartford audiences for years with his one man shows of famous composers.  Previous embodiments have included George Gershwin, Leonard Bernstein, Leopold Tchaikovsky, and Beethoven.  His latest personification is of songsmith Irving Berlin, who’s career as a writer of iconic popular songs, movie scores, and Broadway musicals, spanned over five decades. 

Felder’s concept for the show is similar in approach to his previous incarnations.  There is an abundance of historical and biographical recitations mixed in with a generous helping of dazzling musical performances.  The formula can be a little schmaltzy, but Felder, in his earnestness and showmanship, makes the production thoroughly engaging.

The show leans heavily of Berlin’s life and music before World War II.  After quickly setting the scene—Berlin and his Jewish family emigrating to the United States from Russia—and whisking through his teenage years, Felder introduces the composer’s first huge hit in “Alexander’s Ragtime Band (1911).”  From there, a succession of recognizable treasures is presented, including "Always" (1925), "Blue Skies" (1926), "Puttin' On the Ritz" (1928), “Easter Parade” (1933), “God Bless America” (1938), and “White Christmas” (1942).  No wonder when the composer Jerome Kern was asked, "What is Irving Berlin's place in American music,” the response was “Irving Berlin has no place in American music -- he is American music.”

The almost two-hour, intermission-less production packs in a great deal of musical gems and stories.  The problem for Felder, who also wrote the show, and Director Trevor Hay is deciding what to include, what to gloss over, and what to leave out in the composer’s illustrious career.  Scenes about Berlin’s army service and deep-felt patriotism are given ample attention, but his well-established movie composing career is relegated to a video montage of Fred Astaire singing/dancing to some of his best-known film songs.  More disappointing was Felder’s brief review of Berlin’s Broadway musicals.  While not every show was a hit - Annie Get Your Gun and Call Me Madam - these musicals and the less successful ones, which include Miss Liberty and Mr. President, produced a cornucopia of riches.

Director Trevor Hay gives the production an easy-going flow, seamlessly blending Felder’s masterful piano work with his biographical snippets.  He incorporates an audience sing-a-long a few times during the show, which is heartily welcomed by those in attendance.

Stacey Nezda’s scenic design is warm and cozy, with a holiday feel to it. Christopher Ash and Lawrence Siefert’s projection work is finely integrated into the production without being a distraction.

Hershey Felder as Irving Berlin, an exceedingly captivating show, playing at Hartford Stage through June 30^th.

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