Andrews Brothers, The: The New `40s Musical

Using records, visuals, and pop song hits and music, Roger Bean creates new musicals that draw upon and re-create phases of the American experience. For The Andrews Brothers, he starts with excerpts of broadcasts and touring shows, mostly hosted by Bob Hope. After a film of Kate Smith introducing "God Bless America," action begins on a South Pacific base during World War II. Before going to battle, the troops are to get a USO show that will feature the Andrews Sisters.

Show-opener "Peggy the Pin-Up Girl" Jones (Kyle Ennis Turoff) arrives early to set up the show aided by a trio of 4-F but patriotic stagehands. Attracted to Patrick, she sings, "I Wanna Be Loved" and imagines that happening on a "Slow Boat to China" (providing Turoff with two sexy solos).

When news comes that the stars are quarantined and can't perform, Peggy persuades the male Andrews siblings to "Accentuate the Positive" and replace the female stars. Cross-dressing, shy Patrick (Greg Kenna) becomes Patty; groovy Max (Jeff Deards), Maxine; awkward Lawrence (Mitch Lewis), LaVerne. At least, they try Can they be blamed for ill-fitting wigs, low-down make-up, skinny-heeled shoes and skirts that too easily hike up?

Luckily, director Larry Raben cuts the guys a lot of slack. They almost break up getting down the words to "Mairzy Doates," but ukes prove useful for a "Hawaiian War Chant" and their "Three Little Sisters" nicely involves the audience. Their enthusiasm is catching!

Choreographer David Raben shows a good deal of imagination on routines that aren't -- including one that ends in a (pseudo) plane with propeller whirling as well as a "Boogie Woogie Bugle Boy" with a surprise bugler.

Usually a song belter, Kyle Turoff handles an array of types of music here. Her brassy style is more like Betty Hutton's than other pin-ups of the era, but it's prepared for by opening clips of Hutton on a Bob Hope show. Turoff makes the most of Hollywood Canteen favorites and selling "Any Bonds Today?".

Dee Richards does her usual fine job with costumes, even varying khakis in several ways. Red, white, and blue also get a workout in Michael Newton-Brown's stage designs. John Visser and his musicians add much to the fun.

What Americans from the WWII era or vets and their families from any era wouldn't enjoy "Stuff Like That There"?