The Comedian Harmonists was an internationally famous all-male German singing group that was formed during the Weimar period and was forced to disband in the early 1930’s when the Nazi regime came into power. The group consisted of six males, three of whom were Jewish or of Jewish decent and one that had married a Jewish woman. The story of this group’s rise and fall is the subject matter of the new musical “Harmony” with music by Barry Manilow and book and lyrics penned by Bruce Sussman. Fans of Mr. Manilow may be disappointed if they are expecting his trademark modulating romantic pop songs from the seventies but will be pleasantly surprised by the deviation and the valid musical theater score he has composed. Mr. Sussman’s lyrics fuel the group’s comedic genre but also capture the tension in the emotional scenes. The book has the task of covering a lot of territory in the two and a half hour time frame of the show but rises to the occasion with minor difficulties. The concept of using an older version of the only surviving member of the group as narrator guiding the audience and commenting on the action serves the production well. Director and choreographer Warren Carlyle move through the story at a fast clip which packs a wallop with the entertaining musical numbers in act one, but slightly falters with a long and labored second act.

In 1927 Harry Frommerman (an astute Zal Owen) an unemployed actor has the idea to form an all-male singing group mirrored after groups he listened to from the United States. He holds auditions at his flat in Berlin and is able to assemble a motley crew of singers including pianist Erwin Bootz nicknamed “Chopin” (a romantic Blake Roman) and Roman Cycowski, called “Rabbi” denoting his rabbinical studies which he abandoned (a compelling Danny Kornfeld). Rounding out the group was Ari Leschnikoff (a comedic Steven Telsey), Erich A Collin (a pensive Eric Peters) and Robert Biberti (a somber Sean Bell). They get off to a rough start but quickly hit their stride when their tuxedos are stolen before a show, and they perform a choreographed, harmonious comedic act in waiters’ jackets and boxer shorts. The rest is history. These six actors are the heart of this production and define the theatrical term “triple threat” as they carve out their characters, delve into their vocal arsenal and show off their dancing prowess. The romantic interests Ruth (a feisty Jessie Davidson) and Mary (the delightful Sierra Boggess) play key roles in the group’s life altering decisions. Their vocals, whether solo or duet, are powerful and noteworthy. Finally, there is Broadway veteran Chip Zien who inhabits the role of the aged “Rabbi” acting as narrator sometimes stepping back into history shadowing and pleading with his younger self during challenging times to make the right choices. It is a tour de force performance which is highlighted by his tense and dramatic solo musical number “Threnody.”

This musical has been a journey for the creators over the past twenty-five years and has finally come to fruition with a New York debut at the National Yiddish Theatre Folksbiene in lower Manhattan. The show is entertaining, informative, and delivers an important piece of history about a successful musical group that would otherwise be forgotten. The most challenging element of this endeavor is the balancing of comedy and drama, especially when it does not leave the audience smiling as they exit the theatre, typical for musicals, but pondering a challenging part of history.