(Production photo by Alex Mongillo.)

by Tim Leininger

NORWALK, CT — With a spectacular ensemble anchored by a sextet of immaculate tight harmonies and an impassioned performance by Frank Mastrone, Music Theatre of Connecticut’s production of Barry Manilow’s musical Harmony is a “stop what you’re doing and get to the theater tonight” kind of show, running through Sept. 27 at the MTC Mainstage at 509 Westport Avenue.

With book and lyrics by Bruce Sussman, directed by Kevin Connors and choreographed by Chris McNiff, Harmony is the thrilling, yet at times hilarious, true story of the Comedian Harmonists, a vocal ensemble consisting of both Jews and Gentiles that formed in 1928 Germany. Narrated by Rabbi (Mastrone), now an old man, who recounts his time with the ensemble until its forced disbandment in 1934 by the newly installed Nazi government. They immediately find their indelible harmonic quality but lack a firm selling point until the discover that they all have a particularly playful spirit that brings humor to their shows, making them an international success.

(Production photo by Alex Mongillo.)

But as anti-Semitism becomes more rampant in Germany and Adolf Hitler rises to power, the group’s love for their art and their homeland of Germany is tested. Conflicts arise from inside and out of the group. Member Bobby (Dominic Pagliaro) is adamant about returning to Germany when their tour in the United States ends, noting that prejudices in America aren’t all that different, as far as he can see than what they deal with in Germany. Meanwhile, Chopin (Michael Alonzo) — not that Chopin — struggles with his girlfriend/later wife, Ruth, played with fiery passion by Michelle Pauker. Ruth leads anti-Nazi rallies, and challenges Chopin on what is more important, his art or freedom.

The heart of the musical is the music by Barry Manilow, who has composed beautiful, tight, harmonies filled with color, texture, and form. The sextet of Alonzo, Cameron Edris (Erich), Christian Libonati (Lesh), Pagliaro, Jeff Raab (Harry), and Constantine Pappas (Young Rabbi) are pitch perfect throughout. But it’s not just their ability to harmonize, but their performances as well, as the other half of their ensemble’s name is “Comedian” and when the characters find their comedic voice, the humor elevates the drama, as they face increased prejudice by the Nazi party and their sympathizers. This is most beautifully presented in the number “Come to the Fatherland!” a hilarious satire of how the Nazi’s attempt to use the ensemble for propaganda purposes.

(Production photo by Alex Mongillo.)

Pappas (who was in the original Broadway cast of Harmony in the ensemble and as an understudy for Young Rabbi and Harry) is great as Young Rabbi here, with a fragile performance that has the character slowly crumble under the pressure of protecting himself, his marriage to Mary (Jazmin Gorsline), and his friends, leading to a potential confrontation that breaks his older self as he reflects on it. This culminates in the heartbreaking 11 o’clock number “Threnody” that Mastrone performs with brutal grief.

Connor has done an amazing job with the ensemble, there are a couple issues with the show. In Act I, when Bobby challenges the rest of the group to return to Germany, his motivations weren’t clearly presented. Also, near the end of Act II, there’s an admission by one of the members that lacks any context throughout the rest of the musical. It would have been nice to have seen a bit of acknowledgement to these feelings this character has earlier in the show, so it didn’t feel like it came out of left field. This is mostly a book issue, but some slight changes in the direction could have helped the flow of the story.

(Production photo by Alex Mongillo.)

Sean Sanford’s scenic design is fairly understated. Most of the visual aesthetic, aside from some sliders that move left and right upstage involves tables with a variety of props (managed by Lauren Weglian) that run on and off stage for the ensemble to use. The costume design by Diane Vanderkroef needed some tidying up, particularly with some of the Nazi uniforms, and Brian Salvia’s sound design was really good when the ensemble was singing, but when there was an underscore going on with the cast speaking, the pit band was a bit loud and needed to be pulled back some.

These design issues and my complaints about the book are mostly nominal, as the story, music, and performances in MTC’s production of Harmony are fantastic. It is a musical of finding the fortitude to not only come together from different ethnicities and beliefs, but finding a brotherhood within that group, once formed, to fight and protect each other as much as they can in the face of evil.

TICKETS: https://www.musictheatreofct.com/

PRODUCTION: Music by Barry Manilow; Book and Lyrics by Bruce Sussman; Directed by Kevin Connors; Music Direction by Zachary Anderson; Choreography by Chris McNiff; Stage Managed by Lou Ursone; Intimacy Direction by Dan O’Driscoll; Scenic Design by Sean Sanford; Lighting Design by Jac-Que Robinson; Costume Design by Diane Vanderkroef; Sound Design by Brian Salvia; Props Master: Lauren Weglian

CAST (in alphabetical order)

Michael Alonzo as Chopin

Helen Clare as Rosa & Others

Cameron Edris as Erich/Dance Captain

Jazmin Gorseline as Mary

Quinlyn Kessler as Clara & Others

Christian Libonat as Lesh

Matt Mancuso as Standartenfuher

Frank Mastrone as Rabbi

Dominic Pagliaro as Bobby

Constantine Pappas as Young Rabbi

Michelle Pauker as Ruth

Robert Peterpaul as Fritz/Ezra & Others

Jeff Raab as Harry

Joseph Torello as Titus/Obersturmfuher