Review: Going Bacharach, an Off-Broadway Concert

Theatergoers who appreciate great songwriting won’t want to miss Going Bacharach, Amas Musical Theatre’s exceptionally well-performed concert of Burt Bacharach songs now at the Marjorie S. Deane Little Theater. The evening was created by Will Friedwald, Tedd Firth, Jack Lewin, and music director Adrian Galante, who also performs. It’s a lovingly curated (if thematically undernourished) tribute to one of the greatest composers this country has ever produced.

At least that point is clear from the moment Galante takes his seat at the bench of a handsome Steinway grand, attacking the ivories as if he were about to perform the Grieg Piano Concerto. What follows is an old-fashioned overture that Galante performs with the four other members of the band (guitarist Derek Duleba, bassist Nate Francis, drummer Jakubu Griffin, and Patrick Firth on additional keys). “What the World Needs Now Is Love,” “Alfie,” and a particularly jazzy arrangement of “(They Long to Be) Close to You” all appear in instrumental form, showcasing the breadth of musical influences that shaped Bacharach’s singular and instantly recognizable voice.

Bacharach was perhaps the sturdiest bridge between the old and new in a century of radical change. So, while Galante conjures Vladimir Horowitz at the top of the overture, by the time he’s standing up and banging on the keys, he’s Elton John.

The vocalists (Hilary Kole, John Pagano, and Ta-Tynisa Wilson) enter singing “Always Something There to Remind Me,” immediately followed by Wilson’s heartfelt rendition of “Walk On By,” then Pagano’s elegant “Do You Know the Way to San Jose,” then a surprisingly sultry duet between Pagano and Kole of “Close to You.” We get a big taste of Bacharach’s melodic power before a single word is spoken (though many are sung, underlining Hal David’s knack for simple and memorable lyrics). The music is this evening’s strong suit.

When the performers do speak, it is often to deliver Wikipedia bio notes and generically effusive praise of Bacharach and his work (no book writer is credited). Even Pagano, who toured with the composer for over two decades and is best positioned to offer an exclusive peek into his world, limits his remarks to the unremarkable.

“Make me cry, J,” he recalls Bacharach telling him before he would sing “God Give Me Strength,” which seems like the obvious direction for the Elvis Costello collaboration that features the line, “She took my last chance of happiness.” Pagano can still bring a tear to your eye with his clear and emotive vocals, but don’t expect to learn anything about the personal history and heartbreak that informed Bacharach’s perfect setting for those bitter lyrics.

Going Bacharach is blessedly not a whitewash bio-musical about the composer, nor is it a retrospective of his work with a documentarian’s flair. It certainly does not have the experimental verve of What’s It All About? Bacharach Reimagined, an earlier off-Broadway revue that proved the elasticity of Bacharach’s melodies through a series of unexpected and delightful arrangements.

Galante’s arrangements sound like what you might expect, surprisingly sturdy for a band without any brass, but lacking anything particularly new or noteworthy. I did find myself craving more of a perspective on the work, especially as the evening dragged into the second hour.

Director David Zippel’s unflashy concert staging gets the job done, with the performers moving around the piano on a set by Christopher and Justin Swader that suggests an art deco ballroom made from the musical staff. Matt Berman lights the backdrop between these curved lines in vivid magentas and moody blues, creating the stained glass of this musical cathedral. Frank Cazares’s costumes evoke the era and style, the black-and-white mod look of the first half ceding to black and gold in the second. It wouldn’t look out of place onstage at a cruise ship cabaret lounge.

But the musical prowess is undeniable, with Wilson breathing new life into several of the greatest songs Bacharach wrote for Dionne Warwick, including “I Say a Little Prayer” and a haunting rendition of “Anyone Who Had a Heart.” Pagano lives out his Tom Jones fantasy, delivering a very funny version of “What’s New Pussycat” that includes all the skips and scratches from the record he owned and overplayed as a kid. Kole, a longtime jazz singer, ornaments her songs with extravagant blue notes that will leave you with chills. Her shimmering interpretation of “Alfie” is a highlight.

Galante is as the biggest revelation of the evening. A talented and passionate pianist, he is even more gifted as a clarinetist, delivering recording-studio quality solos throughout the evening (“Walk On By” becomes a duet between voice and clarinet here). His genuine love for this material is palpable, making the listener confident that the late composer’s music is in good hands and will continue to find a place in the hearts of performers and audiences alike. I suspect we’ll be seeing a lot more of Galante in the coming years.