The Songs That Got Away

The name Hymen Arluck is not memorable. It’s a good thing he changed it to Harold Arlen as he embarked on his brilliant career as a composer. 

Except, as it turns out, that name didn’t ring as many bells as it should have, either. As a fan of his personal contribution to what has become known as The Great American Songbook, I must confess - in retrospect – that I probably attributed most of his songs to the Gershwins, Irving Berlin or Cole Porter.

By the time Johanna Allen sang the swan song of this show, I felt truly embarrassed to realise that Arlen was actually responsible for composing most of my absolute favourite songs from the era. This was due in no small way to the lyricists with whom he collaborated. However, unlike songwriting partnerships like Elton John and Bernie Taupin - where Taupin would give John the lyrics first for John to write the melody - Arlen’s lyricists had to be inspired by his (mostly) fully arranged tunes. His frequent collaborator E.Y. Harburg said, “The lyrics are the wings to the music and the music are the wings to the lyrics - without it they are clay-footed and they lay on the ground.” 

The truth of that statement is so evident, whenever you hear those famous voices of yesteryear *play their heart, like an instrument, while they sang. 

Sinatra, Bennet, Lena, Ella and Barbra and of course Judy - plus many others, undoubtedly owe their careers to the richness of Arlen’s melodies; as each of them clearly tapped into something quite spiritual with their individual interpretations. 

But who was Harold, really? 

This intriguing musical memoir paints an unflinching portrait of his personal life, not only through the songs, but through a kaleidoscope of monologues, deftly interwoven between them. 

It turns out Ms Allen is a quadruple threat. Singer. Actor. Dancer and Writer. The intricate structure of this show requires considerable acting chops. Her authentic embodiment of each distinct (real life) character and the era(s) in which these songs were composed, is a revelation.    

And I haven’t even started on her singing! 

Arlen’s melodies encompass the gamut of moods, from heartache to unbridled joy, and all with that distinct bluesy feel. Arlen himself would argue his only true ‘blues’ song was ‘The Man that Got Away’. For him, songs like ‘Stormy Weather’ and ‘One More For the Road’ are Torch songs. I guess we’ll all have to agree to disagree. 

But I digress. There’s something about Johanna’s meticulous stylings that remind me of a young Barbra Streisand. It’s not that she sounds exactly like Babs, but she exudes the same deceptive ease and feisty New York attitude. 

Having said that - when acting out the circumstances of how Arlen first met Judy Garland, she nails the then 14-year-old’s child-like wonder. 

As well as managing to embody the gentle mannerisms of Harold Arlen himself, this story is quite a ride and a perfect way to officially close the festival. 

I could go on, but to say too much about this evocative and at times heart-breaking one-woman show would give too much away, and I’m trying to summon the Theatre Gods to make sure it not only goes on an extensive tour, but also finds its inevitable trajectory to the West End. 

Johanna Allen - remember that name.

Rose Cooper

Images: Cameron Jones and AMTF

*NB: I hereby copyright this phrase.