‘Going Bacharach – The Songs of An Icon’

By Alix Cohen

Composer Burt Bacharach’s harmonically adventurous pop songs reshaped popular music from the late 1950s onward. Working most famously with lyricist Hal David, he wrote dozens of enduring hits that blended jazz, classical, and pop influences. Over a career spanning six decades, Bacharach won multiple Grammys and Oscars and left a lasting imprint on film, Broadway, and the Great American Songbook. You know his work even if you don’t think you do.

This sweeping revue showcases new-to-the-US Adrian Galante as much as the honoree. Incredibly gifted, the young Australian acts as musical director, arranger, pianist, clarinetist (as if Gabriel played clarinet) and delivers occasional connective patter.

Imagine an amalgam of extravagant performance by Liberace, Mark Nadler and a dash of Jerry Lee Lewis. Galante bobs his head, throws out an arm, rises from the bench, mouths lyrics, and visibly registers emotion- wearing a flashy jacket. He begins with a lavish overture. Vocals follow as songs flow breathlessly one into the next. Three talented singers, Hilary Kole, Ta-Tynisa Wilson, and John Pagano, present both notable and eclectic compositions.

Among those with which we’re all familiar are: “The Look of Love”, “Do You Know the Way to San Jose?”, “Walk On By” “A House is Not a Home”, Raindrops Keep Fallin’ On My Head” (nifty harmony), and “I Say a Little Prayer for You.”

Arrangements are artful and dense. (The program would benefit from some lighter fare.) Musicianship is exacting, back-up vocals engaging. When was the last time a chorus of “whoa, whoa, whoa” or doo-doo-doo, doo-doo-doo-doo” sounded fitting? Material offers decades of swaying, foot tapping earworms, a banquet of Bacharach.

Each vocalist briefly shares his/her connection to the composer. The youngest, Ta-Tynisa Wilson, had never heard of the Bacharach when asked to audition. She did some research and found a fit. Wilson has a well controlled gospel/blues/Motown voice. She loosens up to move with infectious verve. “One less bell to answer/One less egg to fry/One less man to pick up after/I should be happy/But all I do is cry…” she sings with a sob in her voice. “Anyone Who Had a Heart…” she sings with palpable need.

Hilary Kole, a professional vocalist since she was a teenager, tells us that she began as a songwriter. The savvy artist shares an example of Bacharach’s challenging mixed meter she calls “advanced musical math.” “Promises, Promises” has five of these, five. Kole offers silk/satin timbre, jazz colors, a touch of superb scat (more would be welcome), and womanly depth. “April Fools” is rife with longing, “Alfie” heart wrenching. “What Do You Do When You Fall in Love?” appears seriously fed up.

As a child, John Pagano loved the song “What’s New Pussycat?” wearing out his parents’ record with repeated playing. He sings a droll excerpt, as he heard it, replete with scratches and pauses.

Pagano traveled with Bacharach 26 years. He misses his friend and mentor. When he’d render the eclectic “God Give Me Strength” (written with Elvis Costello), Bacharach would tell him, “Make me cry, J, make me cry.” Phrasing is well honed. The performer adds warm familiarity, visible appreciation, and Rat Pack polish.

We hear about push-back Jack Jones suffered for recording “Wives and Lovers”- “Not the most enlightened of lyrics”, Galante comments- including a verse by Jones countering with the female view.

Bacharach composed “The Windows of the World”, a powerful anti-war song, for his two sons during the Vietnam conflict. “Everybody knows when boys grow into men/They start to wonder when their country will call…” Pagano sings with great feeling. An instrumental for the composer’s daughter Nikki begins Act II.

The show ends with a pertinent “What the World Needs Now”…is love, sweet love, “Keep Smilin,” and “That’s What Friends Are For.”

Eminently accessible if exhaustive, Going Bacharach might secure a home in Las Vegas and/or successfully travel. It’s buoyant.

David Zippel’s direction includes period-perfect back-up vocal gestures and aesthetic stage composition. It does not, alas, tamp down Galante’s inadvertent upstaging.

Scenic Design by Christopher & Justin Swader is appealingly evocative of classic Hollywood big band productions.
Lighting and Sound (Matt Berman) are both deft.
Costume Design (Frank Cazares) tends towards tacky. Kole’s second act dress is decidedly unflattering.

Production Photos by Russ Rowland

Going Bachrach- The Songs of an Icon
Created by Will Friedwald, Adrain Galante, Tedd Firth, Jack Lewin
Conceived by Jack Lewin
Arrangements & Orchestrations- Adrian Galante
Musical Supervision – Tedd Firth
Directed by David Zippel

Marjorie S, Deane Little Theater 10 West 64th Street
Through February 15, 2026
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