Goodman Theatre
Tickets: 312-443-3800
Through August 10 (Show Details)
People have said the American Musical Theatre is in decline. That's partially true, but if you look at shows like Bounce, the new Stephen Sondheim/John Weidman musical having its world premiere at the Goodman Theatre, you will see that it has a chance after all.
Let me say, first, that it is a treat to see a new Sondheim musical. In case you’ve been out of the country, Stephen Sondheim hasn’t written a new show since Passion, which opened on Broadway in 1994, and since then we have been treated to many revivals of his work, notably the Sweeney Todd and A Little Night Music concert versions that have played Ravinia the past two years. Not to mention the wildly successful Pacific Overtures (now playing at London's Donmar Warehouse) and Sunday in the Park with George productions at Chicago Shakespeare Theatre.
Bounce, which is on its third title (the previous titles were Wise Guys and Gold) is the story of Addison and Wilson Mizner. Addison (Richard Kind) and Wilson (Howard McGillin) were as different as could be, but their paths always brought them back together. Addison was talented at art, and later became an architect. Wilson's talent was deception – he was a gambler, a scam artist and a mobster, among other things. One of his greatest coups was marrying a millionaire widow named Mary Yerkes, who unwittingly financed several of Wilson’s failed investments, including a boxer that was later shot by the husband of a woman he had been intimate with. A famous quote attributed to Wilson was "be nice to people on your way up because you’ll meet them on your way down." He didn't listen to his own advice, apparently.
The Mizner brothers' story may seem unlikely fodder for a musical, but then again, so was Sweeney Todd. Bounce, although not quite finished, has a lot of potential. Typical to Sondheim musicals, Bounce is very complex musically, and does not always have that Rodgers and Hammerstein tuneful appeal. What it does have is a lot of real emotion, a fairly good Book, and a dynamite cast, with, luckily, quite a number of fine Chicago actors among them. 
Bounce opens at the end of the Mizner brothers' lives. Addison died in Florida, trying to stave off the lawsuits brought by those who lost money in the failed real estate boom. Wilson, also the victim of a heart attack, died at the Warner Brothers Studio, where he was a screenwriter. As the two brothers ascend to the heavens, they encounter each other, and here, we see the animosity between the two, mostly Addison's for Wilson, who seemed to foil him at every turn. From here, we go back to Addison and Wilson visiting their father (Herndon Lackey) on his death bed. After their father's death, they leave for the Yukon to strike gold. Once there, Addison digs for gold and Wilson gambles away their claim. They also meet Nellie (Michele Pawk), a saloon girl that saves them both from death. The plot then follows Addison around the world, where he acquires a great deal of eclectic merchandise from failed businesses. Both brothers end up in New York, and ultimately the action moves to Florida. All the while, Wilson seems to arrive in time to gum up the works.
Bounce boasts a very witty set by Eugene Lee. The scenery is mostly painted drops, but every once in a while, a 3-dimensioal element creeps into a 2-dimensional set piece. Howell Binkley's lighting and Miguel Angel Huidor's costumes complete the picture nicely.
Directed by Harold Prince, Bounce moves at a quick pace - sometimes too quick. Mr. Prince’s seasoned guidance is valuable for a show of this kind, but at times there seem like leaps in the story that could be fixed by repairing the holes in the book. Bounce visits the major events in the Mizner brothers' lives, but there are some things missing from the story. As the authors have worked on the show, it seems they were concerned with length, rather than fleshing out particular plot elements. For instance, the relationship between Addison and his lover Hollis (Gavin Creel) seems to end too abruptly. More time should have been spent, for instance, on the crack in their relationship caused by Hollis’ dreamy attachment to Wilson’s grand get-rich-quick schemes. Also, it helps if you read the dramaturgical information that states that Addison's death followed shortly after the fall of the real estate boom. However, that is not apparent, nor do we have the time to see Addison's bitterness develop, the bitterness that we see so predominantly in the beginning. Mr. Weidman’s book needs to be expanded rather than cropped.
The music, however, is first rate. Replete with Sondheim's complex melodic and harmonic lines, and his very clever lyrics, he's at the top of his form. Notable musical moments are "Bounce," the opening number; the lovely duet "The Best Thing The Ever Happened to Me;" "You," a company number reminiscent of Sunday in the Park with George; and the very funny "Boca Raton," which features every member of the company with some fine cameos by Herndon Lackey as Salvador Dali and Jeff Dumas as Caruso.
Richard Kind, as Addison, is a treasure. His Addison is longing for something of his own, and the number featuring his trip around the world is one of the highlights of the show. Mr. McGillin, as Wilson, is delightfully seedy, but someone that you’re going to spend time with anyway. His rich voice just draws you in. Michele Pawk, a recent Tony Award-winner for her excellent performance in last year's Hollywood Arms, gives a very fine performance in an underwritten role. Also notable are Gavin Creel as Hollis, Jane Powell (yes, that’s right) as Mama Mizner, and Herndon Lackey, as Papa Mizner, and many others.
All in all, Bounce has a great deal of promise. I am looking forward to seeing its development as it moves to the Kennedy Center, and then, eventually, to New York.
