Playwright: John Weidman (book), Stephen Sondheim (music, lyrics)
At: Goodman Theatre
Phone: (312) 443-3800; $40-$60
Runs through: Aug, 10
Good, bad or indifferent, Bounce is a major theatrical event, the first new Stephen Sondheim show since 1994, and the first
collaboration since Pacific Overtures (1976) between Sondheim, book writer John Weidman and director Harold Prince. Right now
Broadway-bound Bounce is indifferent.
It's based on American picaresque brothers Addison and Wilson Mizner, who bounced their way from Alaskan gold fields of 1897
to Florida's 1920's land boom. Individually or together, they wrote Broadway plays and Hollywood movies, hustled cards and
antiques from Hong Kong to Europe, and created Boca Raton, Fla. Weidman has freely adapted their lives, combining various
women in Wilson's life into a single character, and providing a younger, male lover for Addison.
But the stage brothers are not as interesting as the real Mizners, partly because Weidman makes Addison emotionally needy and
dependent on Wilson. As portrayed in Bounce, Addison repeatedly strives for legitimacy (he was a noted architect), but just as
repeatedly allows the callous Wilson to compromise him. Addison may be a reluctant scoundrel while brother Wilson is an
enthusiastic one, but both are scoundrels. If one cannot sympathize with them—if not exactly root for them—then Sondheim,
Weidman and Prince don't have a show.
Promoted as a musical comedy—emphasis on comedy—Bounce has some good laughs, especially with Richard Kind as
Addison. But it's not a jokey book and lacks a joyful spirit, focusing instead on the Mizner's fraternal love-hate. Bounce isn't fun
enough to compete against Broadway laugh machines such as The Producers or Hairspray. It's occasional f-word vulgarities are
glaringly out of place.
Bounce isn't a dance show, either. Choreographer Michael Arnold has few opportunities and no big production numbers. 'The
Best Thing That Ever Happened to Me' in Act I, and 'Boca Raton' in Act II come closest, and are devoured hungrily by the audience.
Ditto, the few emotional numbers, such as Mama Mizner's (Jane Powell) Act I solo, 'Isn't He Something?' (lovely strings in Jonathan
Tunick's orchestrations), and Act II's 'You' for Addison and his lover, the only number one might call lush.
By musical comedy, the creators apparently mean that Bounce is an old-fashioned number show with a pastiche score. Broadway
struts, lilting waltzes, end-rhyme lyrics and musical buttons hold sway. There's an overture, rich brass and woodwinds, a few sweet
tunes, and a catchy, funny title song. But Sondheim does it his way, utilizing signature dry melodies, intelligent patter and rhythmic
vamps. Sondheim simply doesn't do bad work, but he neither steps ahead musically nor reaches backwards to Broadway's golden
age.
Among the first-rate cast, Kind is a classic clown who can work big or small, with instinctive physical chops. Tall, slim (and out)
Howard McGillin is excellent contrast as Wilson, offering a strong—although not pretty—voice. Michele Pawk is underutilized as the
proto-female, but is alluring or amusing by turns. Jane Powell, Herndon Lackey and boyish Gavin Creed deliver able support as
Mama and Papa Mizner, and as Addison's lover. Trim-figured Powell has more to do and proves she can still do it.
Prince keeps the pace fast and inventive but never too fussy. He allows full measure for Wilson's brashness and Addison's semi-sad
sack appeal. It's OK that Bounce is neither big nor glitzy by Broadway standards, but it needs to be more joyful in order to be more
than second-tier Sondheim.