Reviewed by Judy Richter
In this engrossing one-man show, the multi-talented Felder sings, plays piano and spins the fascinating story of one of America's greatest, most original composers. Felder goes into some of the stories behind works like 1924's "Rhapsody in Blue," which was inspired in part by the rhythm of a train. He touches upon some aspects of composition such as the change from a minor to a major key in "Swanee," his early hit song sung by Al Jolson.
He describes some of the milestones of Gershwin's life such as his first musical job as a rehearsal pianist for the Ziegfeld Follies at the age of 19. Dissecting songs like "I Loves You, Porgy" and "Summertime," he spends quite a bit of time on "Porgy and Bess," 1935's landmark full-length work that was such a departure from musical theater of the time yet not quite like opera. Though highly regarded today, it wasn't well received by the major critics then.
Gershwin and his older brother, Ira, were close collaborators, with George writing the music and Ira writing the lyrics. Ironically, the last song that George wrote was "Love Is Here to Stay," with Ira writing the lyrics after George's death.
Directed by Joel Zwick, Felder presents all of this information in a highly entertaining fashion. He plays the Steinway grand piano well and sings in a pleasant baritone. He easily moves around the set designed by Yael Pardess with its piano, desk, chair and table. Lighting by Michael T. Gilliam enhances moods, and Jon Gottlieb's sound design features some original recordings.
One highlight of this show comes when Felder goes to the desk and reverently picks up the original annotated score for "Porgy." Still another comes as a far more dissonant note when he recites a diatribe against Jewish musicians, especially Gershwin, in a publication backed by Henry Ford.
Although the show itself runs about 90 minutes without intermission, it goes on for another half-hour as Felder chats with the audience, leads some singalongs and, at opening night, invites a man in the audience to imitate Ethel Merman singing "I Got Rhythm." At opening night he also introduced Mike Strunsky of San Francisco, Ira's nephew and the trustee and executor of Ira's musical estate.
Felder, who also has created shows about Beethoven, Chopin and Bernstein, premiered "George Gershwin Alone" in 2000. He told the Berkeley audience that this run, a scant two weeks, might be its last. It's not to be missed.
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