The Ghost of Gershwin

Reviewed by Martín Hernandez

While sadly no George Gershwin tunes appear in this world-premiere musical, the good news is the show boasts some pretty snappy and moving compositions by lyricist Laura Manning and composer-lyricist Wayland Pickard. (Doug Haverty wrote the book and provided additional lyrics.) The bad news is that the best numbers don’t come around until Act 2, which means enduring the mostly mawkish songs strewn about in the clunky Act I. Also, bogging down director Jules Aaron’s otherwise lighthearted production are casting missteps, a mixed-bag of singing talents, and a subplot whose denouement can be seen from a mile away.

Brooklyn songwriter Grant (the miscast Andrew Bourgeois) is behind on his rent, has a lyric-writing mental block, and is pining for dancer and ex-fiancée Nessa (Emma-Jayne Appleyard), who eloped with his still-best friend and business partner Dennis (Gregory Guy Gorden, another casting gaffe).  With Nessa and Dennis now at odds, however, Grant gets his hopes up, until comely contractor Mel (Jean Altadel) arrives to replace the tile in his apartment and, possibly, Nessa in his heart. When Grant inadvertently conjures up the spirit of the tuxedo- and top hat-clad George Gershwin (Daniel Lench), the great composer imparts wisdom that just may solve Grant’s personal and professional quandaries.

While Gershwin was only 38 when he died, Lench appears a good deal older, yet he acquits the role well, both in song and dance, such as in the rousing tap ensemble “Time,” skillfully choreographed by Michele Bernath, that opens Act 1. Suzy London as Grant’s landlady gives a heartfelt rendition of “After All This Time,” while Altadel, similarly moving, sings “The Blues.” Kyle Barnes’s raunchy turn as Nessa’s choreographer in “Spice Guy” is a comic gem. Unfortunately, for musical accompaniment, the show strikes up a synthesizer recording, sorely lacking musical punch of a live band or even a recording of live band.

The pairing of the statuesque Nessa with the diminutive Grant could be plausible if their height difference were a matter of inches – think Kidman and Cruise, or Henry and Nancy Kissinger. In this case, however, Nessa is a foot taller than Grant, who is also such a nebbish, so the hookup is incongruous and inadvertently comical (audience whispers rarely lie). And it is equally implausible that Dennis’s dilemma could be so crystal clear to the audience, especially after his first line delivery, but not to any of the show’s other characters.  Also, in the show, the character of Gershwin, as a ghost from the 1930s, seemed oddly at ease with 21^st Century technologies (computers and smartphones), which was a squandered opportunity for humor.

The cast’s commitment to their parts and to the show is a testament to director Aaron’s leadership, which makes it easier for the audience to root for the ensemble when the piece hits its snags. This commitment was evident when an inconsiderate audience member’s cell phone rang in the middle of critical scene between Bourgeois and Lench. Their quick-witted adlibs priceless, and well appreciated.

The Group Repertory at the Lonny Chapman Theatre, 10900 Burbank Blvd., N. Hlywd.; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; through June 22. (818) 763-5990, www.thegrouprep.com.