Customer Reviews

Bounce (2003 Original Cast)

5 star:		(6)
4 star:		(14)
3 star:		(8)
2 star:		(8)
1 star:		(6)

 

 

On stage, BOUNCE offered some interesting musical sequences side by side with an awkward book that spent a good deal of time telling us a story without ever fully explaining why this particular story should interest us. Stephen Sondheim's scores are thoroughly composed to weave together information about the story and characters. Whether the music is pure and simple, or more complex, it serves specific purposes. When song fragments are reprised it is usually to help the listener establish links with what has been heard before. This is the major reason why his scores stand up to repeated listens...each time you go through the score you will become aware of more subtle details. Few composers writing for the theatre today understand this. The sooner they do, the better musical theatre will be!

OVERTURE - very much in the standard 1950s musical comedy style. An opening fanfare ("Boca Raton") leads to a lively playing of that tune, followed by "The Game", then the show's key ballad: "The Best Thing that Ever Has Happened", followed by the theme of "Gold!" and ending with a restatement of the "Boca Raton" theme.

BOUNCE - an old-fashioned vaudevillian soft shoe number. It's a catchy tune because the main melodic theme gets several repeats.

OPPORTUNITY - The opening line ("One Day Lose, the next day win") reappears later as the opening line of the first version of "The Game" among other places.

GOLD! - The first appearance of this tune and if you know Copland's "Appalachian Spring" and "Hoedown" from the RODEO ballet, you'll hear echoes of both here. That said, it not a totally satisfying number because the lyrics take the lead and the music never quite develops into satisfying whole.

WHAT'S YOUR RUSH - The tune is slow and sultry (think of "Sooner or Later" from DICK TRACY) and there is a major bit of plot dialogue in the middle. As a result it sounds more like an introduction to a song, rather than a complete song itself.

THE GAME - building from the opening lines borrowed from the earlier number, "Opportunity" and builds it into a great number. This song was featured in the Overture and will reappear in fuller form at the top of Act Two.

NEXT TO YOU - a charming waltz that sets up Mamma's obvious preference for the trouble-prone Wilson over the loyal but nebbish Addison.

ADDISON'S TRIP AROUND THE WORLD - This is what Sondheim does best: a musical sequence (including dialogue) that condenses Addison's world trip. Note that the lyric changes subtly from "I'm ON My Way" to "I'm IN my way." By the end of the number Addison is back home with all his "souvenirs" which he neatly choreographs into a pleasing arrangement revealing his talent for design rather than business. A lot of information packed into this musical sequence that weaves together several pleasing musical segments. The sequence was staged by Hal Prince with breathtaking simplicity.

THE BEST THING THAT EVER HAS HAPPENED - the show's big "love" song, and the tune was showcased in the middle of the Overture. It's a simple, straightforward tune (but the lyric will change in later incarnations.)

I LOVE THS TOWN - Like "Addison's Trip" it effectively packs a good deal of info into a 4-minute number. Note the effective reprises of "You are the Best Thing ... " throughout.

ISN'T HE SOMETHING? - Jane Powell's solo number with a disturbing subtext. Addison has cared for her in her advancing years, yet here she is singing the praises of Wilson whom she admits, "Seldom comes to see me."

THE GAME - Opening Act Two, the three leads (each in a different location) give us a progress report. Once again "The Best Thing that ever happened.." re-appears this time as a lament of regret by both Wilson and Nellie (who are estranged at this point in the story.) Then the "Gold!" theme re-appears, this time promising a fortune to be made with the Florida land boom. This, of course sets up the major action of Act Two. "The Game" tune returns to wrap up the scene. Though Act One has some rough spots, you'll notice that Act Two develops much more effectively.

TALENT - We finally meet our fourth lead, Hollis as he and Addison meet on board a train bound for Florida. (Note the underscoring which has the sound of a train moving down the tracks.) Gavin Creel has a wonderful voice and makes each word count. This is one of the high points of the score, with a good gag line at the climax.

YOU - The "opportunity" theme reappears to introduce this segment which establishes the budding success as Hollis' dream of building an artists' colony in Florida as designed by Addison. As their success grows, so does their love. The choral segments are a bit complex but the main tune blossoms forth and the entire sequence is entirely satisfying.

ADDISON'S CITY - The "Talent" theme reappears to introduce this sequence, but then Hollis picks up Wilson's theme "You and me against the world" to show how Wilson has influenced him. The number builds into a march that reminds me of "Opening Doors" from MERRILY.

BOCA RATON - an exciting musical sequence that neatly encapsulates the boom ... and the bust. Note how the tempo accelerates as the people become excited buying and selling lots until the bottom drops out of the market.

GET OUT OF MY LIFE - the "final fight" as Addison finally stands up to his brother. "You don't want me to go" pleads Wilson in a richly melodic line that recalls "The Country is not what it was" in ASSASSINS. But the number doesn't end, it cuts off with dialogue.

BOUNCE - The finale...back where we started with the brothers facing eternity. "Sooner or later we're bound to get it right" assures Wilson as they head off. Hopefully that line will prove prophetic for the show as well.

On stage, BOUNCE offered some interesting musical sequences side by side with an awkward book that spent a good deal of time telling us a story without ever fully explaining why this particular story should interest us.

Stephen Sondheim's scores are thoroughly composed to weave together information about the story and characters. Whether the music is pure and simple, or more complex, it serves specific purposes. When song fragments are reprised they provide specific links to what has happened earlier. This is the major reason why his scores stand up to repeated listens...each time you go through the score you will become aware of more subtle details. Few composers writing for the theatre today understand this. The sooner they do, the better musical theatre will be!

No doubt that the authors will revise BOUNCE and it may yet have a Broadway production. The CD proves the show has many fine musical sequences in Act One and virtually all of Act Two is pure gold. Consider it a work in progress.

Saw it (D.C.) and heard it. An interesting attempt, but flawed musically and production-wise. (And it was/is not ready for Broadway.)

But the question here as versus on Stephen Sondheim forums: should you buy it? For Sondheim and musical collectors, of course; there is much to enjoy and it is part of history, to both study and enjoy. Howard McGillin is a wonderful singer, and many people like Michelle Pawk and she is skilled; I thought Richard Kind's performance to be the most moving in the show but perhaps the visual does not translate to the aural. And much of the music is enjoyable, although far from the author's best work. (Other parts of the music are unmemorable and, at times, dissonantly jarring, seemingly without reason.) The Nonesuch package is its usual skillful (with a booklet with complete lyrics), although I see no excuse for the total lack of production photographs (if I'm not mistaken, the D.C. production was running when the decision to record was made and/or the recording was made), especially where there may never be another recording (although, having said that, thanks to Nonesuch for recording this production to begin with).

Should others buy? There are many enjoyable performances and songs amidst the whole. If that is worth a few glasses of wine to you (Northern California here) and you are willing to accept a less-than perfect show to perhaps enjoy the parts more than the whole, you may wish to. 3-4 stars.

Nathan Lane played ADDISON in the Wise Guys workshop. Victor Garber played Wilson. These are two of the most accomplished musical theatre stars working today. They had depth, power and range that make Richard Kind and Howard McGillin look like summer stock understudies. The cast of Bounce was uniformly second-rate. A better cast wouldn't save the show-the show has some fundamental problems. But from a production standpoint, the cast did not help the show at all.

I've heard the workshop recording of Wise Guys, and saw Bounce in Chicago. There's definitely a compelling story to be told about the Mizner brothers; however, Bounce doesn't tell it. Wise Guys didn't tell it either, for that matter, but it was much closer to finding it.

Telling the story of all of the things the Mizners did in their lives is not interesting in and of itself. On the other hand, if the real story is about how sibling rivalry and competition for the love and affection of their mother played out on such a global scale-THAT could make for a compelling evening of theatre.

I would love to have seen a show that truly led up to "Get Out of My Life."

It took Sondheim ten years to follow up his 1994 masterpiece "Passion", and when "Bounce" made its debut in Chicago during the summer of 2003, many didn't know what to make of it. It played later that year at the Kennedy Center in DC, but, lacking the finances, did not come to Broadway. It's too bad, because, although there are quite a few flaws, "Bounce" really is a wonderful score.

"Bounce" tells the story of the Mizner brothers, whose peculiar journey started during the Gold Rush, and took them all the way to Alaska. The brothers, played impeccably by Richard Kind and Howard McGillin, couldn't be more different: Addison (Kind) is a closeted homosexual and sensitive Mama's boy; Wilson (McGillin) is a suave cad who falls hard for Nellie (the always terrific Michele Pawk), a dancer/grifter in Nome.

From there, they go to pretty much everywhere, and many problems ensue: Addy cannot come to terms with his sexuality; Wilson becomes addicted to drugs; and Nellie is an alcoholic. Addy and Willie's beloved mother (Jane Powell) dies towards the end of the first act. Addy falls in love with a rich young rebel, Hollis (Gavin Creel), who returns his affections, but, since this is Sondheim after all, nothing can turn out right.

After seeing this show in previews at the Kennedy Center, I can definitely testify that this show has several problems (mostly the book, and the fact that Gavin Creel was so incredibly underused), but the score is not one of them. It offers traditional Sondheim, with witty, esoteric lyrics and gorgeous voices.

Hopefully, this show will make it to Broadway in the near future. Until then, we can be glad that this lovely cast album was made.

Listeners to "Bounce" would do well to remember that Sondheim writes musical theater where the book, lyrics and music are woven together. Comments from "Bounce" reviewers that some songs seem incomplete, ignore the fact that these songs take place within a context of story/dialogue/acting. Mr. Sondheim's music and lyrics are not meant to stand on their own seperate from the fabric of the show. To insist that they do, and to be disappointed when they don't, is to miss enjoying Sondheim's genius and contribution to musical theater and Broadway.

For example, one reviewer suggests that the lyrics/book contain an error when saying the Yukon is in Alaska. Correct. But, in the context of the song, it is a joke. And to focus on the words, and not the context, is to miss the joke. Likewise, to listen to the music without the story, is to miss "Bounce."

Fortunately, the "Bounce" CD has an very good booklet providing background, plot synopsis with musical cues, and lyrics. To get the full value of your purchase, while reading the synopsis, listen to the musical numbers as they are cued in the text. Visually imagine the action that might be happening on stage before, during and after the numbers. You'll have a much more enjoyable experience of "Bounce" and appreciate how the songs develop and simplify.

The CD and book production values are high quality. The voices are clear, strong and understandable. And, given today's climate of musical spectacle, the orchestrations by Mr. Tunick show excellent restraint and sensitivity.

This show has the same problem as Boch and Harnick's "Rothschilds" - lots of craft and obvious talent, but who gives a damn that members of a family cornered the market using questionable methods? It's like spending Thanksgiving with those relatives of your own that you'd rather not.

Artistically it's the same level as Sondheim's first show, "Saturday Night" - interesting but you wouldn't pay it much attention if it's author had never written anything else. Which makes his career arc rather like one of Sondheim's better shows - brilliant with stunning passages, but ending a bit clumsy, unresolved or just fizzling. A master artist like Sondheim you'd hope for some kind of epiphany, a "Tempest". "Bounce" isn't a "Tempest".

The recording is a little threadbare - the mother wobbly voiced, sythesizer in lieu of orchestra, bland second lead. In the heightened world of musical theater this just isn't a Sondheim worthy story.

I did not see the production upon which this recording is based. However, my love of Sondheim's music has originally come from hearing the Original Cast Recordings from his shows.

I never thought I'd ever hear a mediocre Sondheim score, until I put this on for a listen.. just some thoughts..

1) For a show that's supposed to be quasi vaudvillian in style, this recording has precious little energy.
2) If there is a 30 + person orchestra playing Mr. Tunick's orchestration, then why does this all sound so muted?
3) Mr. Sondheim is definitely recycling stuff.. I can hear things from several shows, especially "Merrily" "Passion" "Assassins" and "Forum" but most of this material doesn't seem to feel like it has completeness.
4) I'm not getting the sense why we should care for these brothers..
5) Like Merrily, and Into The Woods, the score seems to be made of "I've learned this" and "I know this now" kinds of songs, but most of the sentiments about bouncing back and trying to succeed have been heard before in other Sondheim shows..

I'm wondering whether the earlier versions of this show was better... almost as if time and too much work has killed the excitement.

Ahh well....

Sonheim is one of the days best composers, but we all have bad days right? This was Sondheims bad day. The music is boring, Listening to the soundtrack doesnt make you want to see the show, no great ballads, basicly NOT WORTH $20. If you see this at a used CD store somewhere its one to for the collection, but not for any one looking for Sondheim. I would suggest this solely for Sondheim collectors, its not one for listening too. Favorite song: "The Best Thing That Has Evere Happened"

After waiting for Bounce to appear on disc for so long, it was a bit surprising that this show is as scattered as it sounded -- not the deeper interspective ground that Sondheim fans are accustomed too. Bounce is much more like a good ole' fashion musical than anything Sondheim has penned before it. Having said that, I must stress that this is a welcomed addition to Sondheims cannon of brilliant work. The score holds some gorgoeous music - very lyrical and clever (if not slightly derrivatie of his own material). Bounce should heralded as the genius accomplishment that it is, and I am sure that this show will find a long life and eventually a Broadway run after some revisions. A great CD and definately one of the best musical scores to come along in the last several years.