Bounce falls slightly flat

Legends are born, they peak, they fade into the annals of history and the proverbial torch is passed on to the next generation. The fading process is a painful one, however, and musical theatre great Stephen Sondheim is certainly dragging his feet through it.

His latest creation, Bounce, is a sad story by an old man trying to write comedy as he is slowly enveloped by depression and a growing realization that his end is near. In the first act alone, no less than four characters die only to be brought back in the second act and sometimes the second scene. Not only do the characters refuse to stay dead, they are adamant about not dying quietly. Whatever this musical lacks, it is definitely not volume.

Even the solo songs are earsplitting, and a few are flat as well. The ensemble numbers are much better, although they are scarce in the first act. The theme is the only catchy tune in the production. The choreography, by Michael Arnold, is a bit rough.

In stark contrast, the second act, which is much shorter than the first, is spectacular, filled with all the brilliance and warmth of Sondheim's previous works. It has amazing scenes involving the full cast with vivacious song and dance and truly touching moments.

Despite its rebound, Bounce falls far behind the humor of A Funny Thing Happened on the Way to the Forum and the captivating music of Annie Get Your Gun. It's only to be expected, though, as the premise for the show is possibly one of the most crushing stories of the century.

The main characters are based on the real life Mizner brothers, Wilson (Howard McGillin) and Addison (Richard Kind); the former a snake charmer in the business of getting ahead, the latter a sweet sap who finds his calling in architecture. Their parents (Jane Powell and Herndon Lackey) were ambitious pioneers, and their friends and lovers moneyed. Apart from that, the musical takes its leave of the strict facts of history—not that the story becomes any more whimsical.

In the pursuit of success, the brothers bound through a series of sets that are simply astounding. The transitions between such varied scenes (the brothers start by going from heaven to Benecia, California and then to Alaska) are the most creative to ever grace musical stage. Addison's voyage from Hawaii to Hong Kong to Guatemala stays as close to bare stage as possible, but when the boys hit hard times, they are transported to a dinner theatre style New York City.

The best aspect of the show, however, is the subtlety: the line where Sondheim references the house Addison built without a staircase and the ease with which homosexuality is blended in at the end. There is tact and humor behind all the tragedy and deceit.

Bounce is not destined to be remembered as Sondheim's greatest production, but it is not the worst failure either. It merely has more exaggerated ups and downs in quality that makes it fall short of success.

Bounce is running until November 16 at the Kennedy
Center. Tickets are $25 - $90.