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10 of 12 people found the following review helpful:
4.0 out of 5 stars
BOUNCE - a look at the score, June 17, 2004
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.
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by Stephen Sondheim 
