Yank! [PS Classics]
The parade of CDs of new musicals with intriguing, tuneful, literate and unconventional scores — which has recently brought us Giant; Far From Heaven; Fun Home; and Natasha, Pierre and the Great Comet of 1812 — continues with Joseph and David Zellnik's Yank!
This musical, about two soldiers in World War II, is sort of an Army counterpart to "Brokeback Mountain," and its controversial nature of the plot helps explain what has been a disheartening production record thus far. The piece was workshopped at the New York Musical Theatre Festival in 2005, produced by the Gallery Players in Brooklyn in 2007 and the Diversionary Players in San Diego in 2008 and finally reached Off-Broadway with a York Theatre production in 2010. The latter was well-received by audiences and press, as a result of which it was optioned for Broadway and a new director — the estimable David Cromer — came in to further develop the show.
We have grown accustomed to World War II musicals featuring pastiche scores, so much so that I walked into Yank! at the York with caution. Pastiche musicals can be entertaining (Dames at Sea) or not (Over Here!); in most cases, though, they tend to grow somewhat wearying, especially when the librettos aim for something more weighty than parody. The Yank! opening number, "Rememb'ring You," initially sounds like just another World War II 'missing you' ballad. It turns out, though, that the Zellniks have something more in mind. The song fits what is to come and becomes the musical theme; at one point, they weave it into a scene as the GIs write letters to the girls back home, which only accentuates the hero's awkwardness as he writes to his soldier boy.
The opening is followed by the lively "Yank," an uptempo song with an insistent beat which supports a full scene, setting the story and getting it rolling. Next comes a second musical scene ("Polishing Shoes") in which the hero's dramatic predicament is clearly demonstrated. The two authors' abilities are ably demonstrated in "Click," a song of seduction with David's smart lyrics set to Joseph's toe-tapping music — and not just in a vague sense; the Zellniks' characters use tap as code for evading Army regulations; the wolf (as it were) teaches the lamb (as it were) to click his way through taboos to exhilarating effect. Then comes the aforementioned "Letters," after which the first act ends with another evocative pastiche-like ballad ("Blue Twilight") leading to an impassioned and awkward love declaration, "You, You."
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