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Over Here!
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| Over Here! | |
|---|---|
 Playbill for the Broadway production | |
| Music | Richard M. Sherman Robert B. Sherman |
| Lyrics | Robert B. Sherman Richard M. Sherman |
| Book | Will Holt |
| Productions | 1974 Broadway |
Over Here! is a musical with a score by Richard M. Sherman and Robert B. Sherman and book by Will Holt. The original Broadway production was directed by Tom Moore and choreographed by Patricia Birch, with scenic design by Douglas W. Schmidt and costumes by Carrie F. Robbins.
Over Here! was a follow-up to the Sherman brothers' World War II musical Victory Canteen, an off-Broadway production that featured 1940s icon Patty Andrews. The setting is a cross-country train trip in the United States during World War II (hence the name of the play, in contrast to the popular patriotic war anthem entitled Over There). The show begins as a nostalgic look at 1940s America (where fashion, music, big bands and swing dance dominates) but, quickly evolves into a social commentary about the fear of dying in battle, prejudice, and discrimination.
Production history
[edit]After thirteen previews, the show opened on March 6, 1974, at the Shubert Theatre, where it ran for 341 performances and became the top-grossing production of the 1974 Broadway season. It is largely credited as the Broadway musical which launched many careers.[1] The opening night cast included Patty and Maxene Andrews (of the Andrews Sisters) and newcomers John Travolta, Treat Williams, Marilu Henner, Samuel E. Wright, and Ann Reinking, all of whom went on to achieve successful careers. Despite still playing to capacity audiences, the show closed on January 4, 1975, under controversial conditions. "The producers blamed Patty and Maxine, claiming they wanted more money and made unreasonable demands, and cancelled the national tour. The Andrews sisters blamed the producers, claiming they had mismanaged the show from the beginning and were now using them as scapegoats."[2] According to an article in The New York Times, the tour was cancelled due to a "salary dispute" between the Andrews sisters and the producers.[3]
Radar online and the official site reported that Cody Linley would be starring in an all-new production of Over Here! set to launch early in 2010 at the Saban Theatre, Beverly Hills and an official website showed open auditions. In an interview, Linley confirmed that he would play the role of Bill.[4] The production has been postponed indefinitely.
The postponed 2010 production was an "all-new" production with a modified book by original playwright Will Holt, choreographed by Tony Stevens, designed by Royal Court designer Mark Walters with associate designer Christopher Hone and Costume Designer David Toser, featuring Music Supervision by David Barber. Dick Van Dyke had agreed to head an all-star cast; however, he was forced to withdraw days before the start date when his partner Michelle's illness became terminal. Unable to find an immediate replacement for Van Dyke at such short notice, the producers rescheduled the production to premiere in California in 2016, following which a US tour was planned. Neither came to fruition.
There was a 2019 Off-Broadway revival at the Triad Theatre in New York City starring Debbie Gravitte, Haley Swindal as Pauline, Jessica Hendy as Paulette, Nikka Graff Lanzarone as Mitzi, Mark William, Dani Apple, and Kristina Nicole Miller. The production was adapted into a 85-minute one act by director Will Nunziata, music director Blake Allen, and choreographer Andrew Black.[5] The revival featured all the music from the original Broadway production, albeit in a different order, except for "Don't Shoo the Hooey to Me, Louie". The third verse of "Star-Spangled Banner" was sung by Miller where in the original production, the anthem was spoken.
Song list
[edit]
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Awards and nominations
[edit]Original Broadway production
[edit]| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 1974 | Tony Award | Best Musical | Nominated | |
| Best Performance by a Featured Actress in a Musical | Janie Sell | Won | ||
| Best Direction of a Musical | Tom Moore | Nominated | ||
| Best Choreography | Patricia Birch | Nominated | ||
| Best Costume Design | Carrie F. Robbins | Nominated | ||
| Drama Desk Award | Outstanding Set Design | Douglas W. Schmidt | Won | |
| Outstanding Costume Design | Carrie F. Robbins | Won | ||
| Theatre World Award | John Driver | Won | ||
| Ann Reinking | Won | |||
| Janie Sell | Won | |||
2019 Revival
[edit]| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 2020 | BroadwayWorld Award | Best Special Event | Nominated | |
| Best Director | Will Nunziata | Nominated | ||
| Best Musical Director | Blake Allen | Nominated | ||
| Best Vocalist | Jessica Hendy | Nominated | ||
References
[edit]- ^ Paddock, Terri (19 December 2006). "Sherman Bros' Over Here Confirms Delay". WhatsOnStage. Archived from the original on December 14, 2024.
- ^ Nimmo, Harry. The Andrews Sisters (2004), McFarland, ISBN 0-7864-1731-5, pp 366-371
- ^ Calta, Louis (December 21, 1974). "Over Here! Tour is Off in Dispute". The New York Times. p. 18.
- ^ Snider, Mike (February 4, 2010). "Cody Linley: Goodbye 'Hannah,' hello Broadway". USAWeekend.com. Archived from the original on July 15, 2012. Retrieved September 5, 2010.
- ^ Gans, Andrew (October 28, 2019). "Tony Winner Debbie Gravitte Joins Concert Presentation of Over Here!". Playbill.
External links
[edit]Over Here!
View on Grokipediafrom Grokipedia
is a Broadway musical featuring music and lyrics by Richard M. Sherman and Robert B. Sherman and a book by Will Holt.[1] The production, which evokes the big band era of World War II through songs performed at the Stage Door Canteen, premiered at the Shubert Theatre on March 6, 1974, and ran for 341 performances until January 4, 1975.[2][3]
Directed by Tom Moore and choreographed by Patricia Birch, the original cast starred Patty and Maxene Andrews of the Andrews Sisters as the lead entertainers who form a singing trio amid wartime intrigue involving a Nazi spy.[1][4] The ensemble also featured emerging talents including Ann Reinking in a breakout role and a young John Travolta, contributing to the show's nostalgic appeal and its status as a commercial success in the 1973–74 season.[3]
Over Here! earned five Tony Award nominations, including for Best Musical, and won Drama Desk and Outer Critics Circle honors for design and performance elements, highlighting its period authenticity and energetic staging despite a score that diverged from the Shermans' typical Disney-style compositions.[4][5] As a follow-up to the Sherman Brothers' earlier WWII-themed Victory Canteen, it marked the final Broadway appearance for the Andrews Sisters and captured public interest in mid-century American patriotism through its lighthearted, spy-laced narrative.[3]
Janie Sell's win for her portrayal of a USO performer marked the production's sole Tony Award, highlighting the show's strength in individual performances amid its nostalgic wartime ensemble format.[19] The nominations reflected recognition for the musical's technical and directorial elements, though critics noted the score's conventionality limited broader acclaim.[5]
Background and Development
Conception and Inspiration
"Over Here!" originated from the Sherman Brothers' earlier off-Broadway revue Victory Canteen, which debuted in 1971 at the South Coast Repertory Theatre in California before transferring to New York, featuring Patty Andrews of the Andrews Sisters and capturing 1940s wartime entertainment through songs and sketches.[6] Producers Kenneth Waissman and Maxine Fox, fresh from the success of Grease, attended a performance of Victory Canteen and recognized its potential for Broadway expansion, commissioning Richard M. Sherman and Robert B. Sherman to develop a full original score while retaining the nostalgic WWII homefront theme.[6] The inspiration drew heavily from Grease's formula of period nostalgia, which had revitalized 1950s rock 'n' roll culture on stage; Waissman and Fox aimed to replicate this for the 1940s big band era, emphasizing swing music, USO-style shows, and the patriotic fervor of the American home front during World War II.[7] They assembled a creative team including director Tom Moore and choreographer Patricia Birch, both Grease alumni, to infuse the production with high-energy period authenticity, while Will Holt crafted a book that framed the story around two sisters entertaining troops via a fictional cross-country train journey.[8] This approach privileged lighthearted escapism rooted in verifiable historical elements like Andrews Sisters performances and wartime morale-boosting revues, though the final show incorporated subtle critiques of consumerism and generational shifts.[6] Development accelerated in 1973, with Maxene Andrews joining her sister Patty as stars to leverage their real-life 1940s fame, ensuring the musical's songs evoked authentic swing rhythms and harmonies without relying on their pre-existing hits.[3] The Shermans, known for family-friendly scores like Mary Poppins, tailored the music to blend upbeat patriotism with subtle irony, reflecting the era's dual realities of optimism and underlying social tensions, as informed by their research into WWII-era sheet music and broadcasts.[6]Creative Team Assembly
The creative team for Over Here! was assembled to evoke the 1940s big band era through a nostalgic lens, building on the Sherman Brothers' prior collaboration with Patty Andrews in the off-Broadway production Victory Canteen.[3][6] Richard M. Sherman and Robert B. Sherman, renowned for their Disney film scores including Mary Poppins, composed the music and lyrics, drawing inspiration from the Andrews Sisters' style to create period-appropriate songs amid the World War II homefront setting.[2] Their involvement stemmed from the producers' aim to replicate Grease's success in retrofitting a past decade for contemporary audiences, positioning Over Here! as a wartime equivalent.[6] Will Holt, a folk singer-songwriter known for hits like "Lemon Tree" and prior Broadway work such as the Tony-nominated The Me Nobody Knows, was enlisted to write the book, which framed the story around USO entertainers and troop transports.[9][10] Holt's selection aligned with the musical's blend of light-hearted patriotism and ensemble dynamics, though his script received mixed reviews for pacing.[2] Direction was handled by Tom Moore, a Yale-trained theater artist whose work earned a Tony nomination for Over Here!, marking his Broadway breakthrough in musicals.[11][12] Moore's staging emphasized fluid movement and era-specific energy, complementing the score's swing rhythms. Patricia Birch, an established choreographer fresh from Grease, was chosen for her expertise in high-energy, character-driven dance sequences that captured 1940s jitterbug and canteen performances; her contributions earned a Tony nomination for Best Choreography.[4][13] Joseph Klein served as musical director, overseeing orchestrations by Robert Russell Bennett and others to maintain authentic big band orchestration.[2][14] Producers Kenneth Waissman, Maxine Fox, and Lou Kramer financed the venture, targeting a Broadway run at the Shubert Theatre with a focus on star power from the Andrews Sisters to drive ticket sales.[15] The team's cohesion derived from shared commitments to wartime nostalgia, though post-premiere disputes over touring highlighted tensions in production management.[15]Synopsis
Plot Overview
Over Here! unfolds in wartime America during the early 1940s, primarily aboard a cross-country train departing Los Angeles for New York, carrying draftees bound for overseas deployment. The DePaul Sisters, a performing duo modeled after the Andrews Sisters, seek a third vocalist to complete their act and entertain troops. They encounter Mitzi, a seemingly ideal recruit from the passengers, who joins them but harbors a clandestine identity as a Nazi spy, complete with a Marlene Dietrich-esque accent and gadgets like a lipstick-concealed microphone.[1][16] Among the recruits are characters such as Bill, the opportunistic Lucky (Joseph Jackson), and the idealistic Utah, who navigate the uncertainties of conscription alongside budding romances and morale-boosting performances. For instance, Utah pairs with Donna, a waitress turned defense plant worker, in a sequence highlighting personal sacrifices for the war effort. The sisters' troupe stages big-band style numbers spoofing 1940s swing and patriotism, transitioning from lighthearted nostalgia to pointed social commentary on the era's cultural and political tensions.[3][16] The episodic narrative shifts to New York and USO venues, where entertainers and soldiers intertwine amid espionage hints and wartime fervor, emphasizing themes of unity, deception, and American resilience through over a dozen period-evoking songs. While the spy subplot adds intrigue, the focus remains on revue-like vignettes capturing the big-band zeitgeist rather than a linear dramatic arc.[1][17]Original Broadway Production
Casting and Rehearsals
The original Broadway production of Over Here! starred the surviving Andrews Sisters, Patty Andrews as Paulette de Paul and Maxene Andrews as Pauline de Paul, leveraging their fame from the 1940s to evoke wartime nostalgia.[1][14] The casting emphasized a mix of established performers and young unknowns, including Ann Reinking as Victoria, Marilu Henner as Natalie, John Travolta in his Broadway debut as the Misfit, Treat Williams as Utah, Samuel E. Wright as Sam, and John Mineo as Lucky.[18][3] This ensemble featured future stars whose early roles in the show contributed to their visibility in the industry.[1] Rehearsals, overseen by director Tom Moore and choreographer Patricia Birch, focused on integrating the Andrews Sisters' vocal harmonies with the ensemble's period-style dances and the Sherman Brothers' score. The process prepared the company for out-of-town tryouts and the Broadway opening, emphasizing big-band energy and WWII-era authenticity in movement and staging.[3] Janie Sell, cast in a featured role, received acclaim during the run, earning a 1974 Tony Award for Best Performance by a Featured Actress in a Musical.[19]Premiere and Theatrical Run
began previews on Broadway at the Shubert Theatre on February 21, 1974, with 13 preview performances leading up to its official opening night on March 6, 1974.[20][2] The production, directed by Tom Moore and choreographed by Patricia Birch, featured the Andrews Sisters—Maxene and Patty—as the central performers, alongside a cast including John Travolta in an early role and Ann Reinking.[1] The musical enjoyed a solid theatrical run, performing for 341 times before closing on January 4, 1975.[2][21] This duration positioned it as one of the season's commercial successes, achieving top-grossing status amid the 1973-1974 Broadway offerings despite mixed critical responses.[21] The Shubert Theatre's hosting of the show contributed to its nostalgic World War II-era appeal drawing audiences nostalgic for wartime entertainment.[22]Closure and Disputes
The original Broadway production of Over Here! concluded its run on January 4, 1975, at the Shubert Theatre, after 341 performances and 13 previews.[2][4] Although the show maintained strong attendance, including capacity crowds toward the end, its termination stemmed from escalating financial conflicts rather than declining ticket sales.[23] A primary catalyst was a salary dispute between stars Patty and Maxene Andrews and the producers, which surfaced publicly in December 1974 and prompted the abrupt cancellation of a planned national tour scheduled to launch that month.[15] The producers attributed the tour's demise—and ultimately the Broadway closure—to demands for higher compensation by the Andrews sisters, whom they held responsible for derailing extended profitability despite the production's earlier high grosses.[23] In response, Patty and Maxene Andrews countered that the producers had mismanaged finances from the outset, portraying the sisters as scapegoats for operational shortcomings that eroded the show's viability. Compounding these producer-sister tensions were internal frictions among the Andrews family, including longstanding personal and professional rifts exacerbated by the production's stresses, which further strained contract negotiations and contributed to the decision to shutter the show prematurely.[23] No legal resolutions or public reconciliations were reported following the closure, marking an acrimonious end to what had been a commercially promising revival of 1940s nostalgia.Musical Content
Song List and Style
The musical's score, composed by Richard M. Sherman and Robert B. Sherman with lyrics by the same brothers, draws heavily from the big band and swing styles of the 1940s, featuring brass-heavy orchestrations, boogie-woogie rhythms, and close-harmony vocals reminiscent of wartime radio broadcasts and USO shows.[1][6] This approach evokes the patriotic optimism and homefront morale-boosting entertainment of World War II America, blending original tunes with period-appropriate flair rather than strict historical reproductions of pre-existing hits.[3] The style prioritizes high-energy ensemble numbers and Andrews Sisters-style trio harmonies, supported by a 20-piece orchestra under the direction of Jay Otto, to create a nostalgic, toe-tapping revue atmosphere.[14] Key original songs include "Over Here!", a rousing opener performed by Patty and Maxene Andrews with the ensemble, emphasizing troop support and victory bonds; "Buy a Victory Bond!", a jaunty patriotic call-to-action; "Charlie's Place", a lively dance number showcasing swing choreography; "Wartime Wedding", a sentimental ballad highlighting hasty unions amid deployment; and "Don't Shoot the Hooey to Me, Louie", a comedic patter song with vaudeville influences.[24][14] Other notable tracks are "Since You're Not Around", a wistful ensemble reflection on separation; "The Best Year of My Life", an upbeat personal reminiscence; and "Pretty Baby", a flirtatious closer.[3] A highlight is the extended "Andrews Grouch Medley" in Act II, which interpolates the sisters' actual 1940s hits such as "Boogie Woogie Bugle Boy", "Don't Sit Under the Apple Tree (with Anyone Else but Me)", "Rum and Coca-Cola", and "Shoo-Shoo Baby", arranged in medley form to showcase their signature tight harmonies and jive-talk delivery.[25] This segment, lasting over 10 minutes in performance, serves as a direct tribute to their era-defining sound while integrating seamlessly with the Shermans' compositions.[26] The overture, "The Beat Begins", sets the tone with explosive big band blasts, and reprises of "Over Here!" bookend the show for thematic unity.[27]| Song | Performers | Style Notes |
|---|---|---|
| The Beat Begins (Overture) | The Big Band | Swing-infused instrumental opener with drum-driven energy.[24] |
| Over Here! | Patty & Maxene Andrews, Ensemble | Upbeat march with harmony hooks promoting enlistment bonds.[28] |
| Buy a Victory Bond! | Ensemble | Patriotic jingle in Tin Pan Alley vein.[3] |
| Wartime Wedding | Patty Andrews, Ensemble | Ballad with sentimental swing backing.[24] |
| Andrews Sisters Medley | Patty & Maxene Andrews, Company | Compilation of hits in boogie-woogie and polka rhythms.[29] |
Thematic Elements in Music
The score of Over Here!, composed by Richard M. Sherman and Robert B. Sherman with lyrics by the same brothers, employs a pastiche of 1940s big band, swing, and boogie-woogie idioms to thematically underscore the resilience and escapism of the World War II home front. Upbeat ensemble numbers, such as those mimicking USO revues and jitterbug dances, portray communal diversion amid rationing and blackouts, capturing the era's emphasis on morale-boosting entertainment as a counter to overseas uncertainties.[30] [6] This stylistic fidelity evokes the period's radio broadcasts and dance hall culture, where music served as a unifying force during a time of national mobilization, with over 16 million Americans serving in uniform by 1945 and civilian production shifting to war materials.[16] Ballads and character-driven songs introduce personal themes of longing and idealism, reflecting the emotional toll of separation; for instance, "Dream Drummin'" illustrates a young recruit's aspirations alongside a defense plant worker's sacrifices, blending soft shoe rhythms with sentimental melodies to humanize the wartime workforce that produced 300,000 aircraft and 86,000 tanks.[3] Other numbers, like "The V.D. Polka," inject gritty realism by addressing venereal disease risks among troops and civilians— a concern that affected up to 10% of U.S. servicemen by war's end—contrasting playful polka tempos with sobering public health messaging akin to era-specific campaigns.[31] Patriotic undertones permeate the score, contrasting George M. Cohan's 1917 hit "Over There" with home-front exhortations in the title song, emphasizing domestic contributions like Victory Gardens (planted by 20 million households) and bond drives that raised $185 billion. The Shermans' integration of these elements avoids overt propaganda, instead prioritizing nostalgic verisimilitude to convey causal links between musical optimism and societal endurance, as home-front songs historically boosted enlistment and productivity without delving into battlefield horrors.[32] [33]Reception and Analysis
Critical Reviews
Critical reception to Over Here!, which premiered on March 4, 1974, at the Shubert Theatre, was generally favorable for its nostalgic evocation of World War II-era homefront life and the star turns by Patty and Maxene Andrews, though reviewers often noted weaknesses in the libretto and score. Clive Barnes of The New York Times described the show as "preposterously bad" in conventional musical terms due to its slender plot—centered on a cross-country train journey involving USO entertainers and a bumbling spy—but praised its engaging cleverness, corny intentionality, and brilliant period recreation through Douglas W. Schmidt's scenery and Carrie F. Robbins' costumes.[34] Barnes highlighted the Andrews Sisters' distinctive vocals, effective staging by Tom Moore, and Patricia Birch's witty choreography parodying 1940s dances, while critiquing the Sherman Brothers' music and lyrics as simple pastiche lacking originality.[34] Other critics echoed this mixed assessment, commending the production's light-hearted frolic and the Andrews Sisters' authentic wartime appeal, which capitalized on their historical status as morale-boosting performers with over 100 million records sold by the 1940s.[35] The show's ensemble, including emerging talents like John Travolta and Ann Reinking, received notice for energetic contributions, contributing to its commercial viability with 341 performances.[36] However, some observed that reviews, while pleasant, undervalued the musical's merits compared to competitors like Raisin, which won the Tony Award for Best Musical despite Over Here!'s seven nominations.[8] The nostalgic tone aligned with 1970s Broadway trends toward period revivals, yet detractors argued the thin narrative and derivative songs limited deeper artistic impact, positioning it as entertaining escapism rather than innovative theater. Despite these reservations, the production's evocation of 1940s Americana through big-band style numbers and wartime vignettes garnered praise for authenticity, with the Andrews Sisters' involvement lending irreplaceable historical credibility.[6]Commercial Success and Box Office
Over Here! opened on Broadway at the Shubert Theatre on March 6, 1974, after 13 previews starting February 21, and concluded its run on January 4, 1975, totaling 341 performances over nearly 10 months.[2][4] Amid a Broadway season marked by recessionary pressures, the production sustained high weekly box office grosses into mid-1974, positioning it among the few shows with potential to achieve profitability by the end of the season.[37] Specific gross receipts for the full run are not detailed in available contemporary records, but the musical's draw from nostalgic WWII-era themes and the Andrews Sisters' star appeal supported consistent attendance.[3] A planned national tour, which could have extended commercial reach, was canceled in December 1974 due to disputes between producer Maxine Fox and Maxene Andrews over performance commitments and earnings distribution.[15] Despite this, the show's respectable performance count reflected solid commercial viability for an original musical in a challenging economic climate.[38]Cultural and Historical Context
"Over Here!" portrays life on the United States home front during World War II, centering on the Stage Door Canteen where civilian volunteers, including singers, entertained servicemen awaiting deployment.[4] The narrative draws from the era's atmosphere of collective sacrifice and morale-boosting entertainment, exemplified by the real-life Andrews Sisters, who performed for troops through USO tours and released hits like "Boogie Woogie Bugle Boy of Company B" in 1941, which peaked at number six on Billboard charts and became a symbol of wartime resilience.[39] Their recordings, totaling over 75 million units sold by the 1970s, captured the swing and boogie-woogie styles that dominated popular music, fostering a sense of unity amid rationing, war bond drives, and labor shifts in factories.[40] Premiering on March 6, 1974, the musical emerged during a period of national disillusionment following the Vietnam War's conclusion in 1973 and amid the Watergate scandal, which culminated in President Richard Nixon's resignation later that year.[16] This timing amplified its nostalgic appeal, evoking the 1940s' perceived moral clarity and patriotic fervor in contrast to contemporary divisions, much like the earlier success of "Grease" in romanticizing the 1950s.[6] Featuring surviving Andrews Sisters Patty and Maxene alongside younger performers, it bridged generational memories of big band culture, which had waned post-war but retained cultural potency through radio broadcasts and jukebox hits that sustained home front spirits.[3] The production reflected broader 1970s trends in revivals of wartime Americana, building on the Sherman Brothers' prior off-Broadway "Victory Canteen," which spotlighted 1940s icons to recapture the era's optimistic escapism via song and dance.[21] By staging fictionalized versions of home front vignettes—such as train-side farewells and canteen performances—it underscored causal links between popular music and societal cohesion, where tunes like those of the Andrews Sisters not only entertained but also reinforced enlistment and endurance, with over 400,000 USO shows performed during the war.[2] This context positioned "Over Here!" as a cultural artifact of mid-1970s escapism, prioritizing empirical recall of verifiable 1940s phenomena over idealized myth-making.[41]Awards and Nominations
Tony Award Nominations
"Over Here!" received five nominations at the 28th Annual Tony Awards, held on May 5, 1974, recognizing achievements from the 1973–1974 Broadway season.[42] The production was nominated for Best Musical, competing against shows including Raisin, Seesaw, and Gigi, but did not win in that category.[5] Additional nominations included Best Direction of a Musical for Tom Moore, Best Choreography for Patricia Birch, and Best Costume Design for Carrie F. Robbins, all of which were unsuccessful.[4]| Category | Nominee | Outcome |
|---|---|---|
| Best Musical | Maxine Fox (producer) | Nominated |
| Best Direction of a Musical | Tom Moore | Nominated |
| Best Choreography | Patricia Birch | Nominated |
| Best Costume Design | Carrie F. Robbins | Nominated |
| Best Performance by an Actress in a Featured Role in a Musical | Janie Sell | Winner |