The Forgotten Songbook, at Chapel Off Chapel - 2 hours, including interval

Having seen The Forgotten Songbook, I am left wondering why Wilbur Weissman isn’t talked about in the same breath as the great composers of Broadway’s Golden Age.

I speak of the likes of Rodgers and Hammerstein, Irving Berlin, Cole Porter and Leonard Bernstein, to name but a few.

I was captivated by the music I heard on the opening night.

Mind you, none of it would have come to light if not for the ferocious efforts of researcher and writer Emerson Hurley, the pianist extraordinaire on the show.

He uncovered a treasure trove of material about the late Weissman, who had been something of a local celebrity where Emerson grew up in Long Island.

Emerson, along with Dylan McBurney, have turned this into a compelling narrative concert surrounding Wilbur Weissman’s compositions.

We learn that Weissman was from an immigrant Jewish family and he grew up with music all around him, which was where he learnt his first tunes.

A second-hand piano was a godsend and by the age of 14, he was singing his own songs.

As he matured, Weissman’s great love was composing musicals and this production works its way through several.

Unfortunately, when it came to staging them, luck seemed to desert him on every occasion. Even when they opened to positive reviews, something inevitably went wrong.

As if that wasn’t bad enough, Weissman was even hauled before the House Un-American Activities Committee, eventually fleeing to Europe.

Under the skilful direction and choreography of Mikey Halcrow, Karla Hillam and Jonathan Guthrie-Jones sing, dance and talk up a storm as they work through Weissman’s life.

In fact, they don’t just chat about what the composer went through, they enact a number of episodes to give us a more complete picture.

Photos by Kristopher Wardhana

Woven into their yarn spinning is interplay between the pair, who have worked together for many years, with each taking pot shots at the other.

They acknowledge how difficult it is to make show business a career.

So, clearly it wasn’t just Weissman who had a hard time of it.

The pair bounce off each other very well, until they carry things too far and for too long in Act II, thereby temporarily taking the focus away from Weissman.

Musically, both performers are highly accomplished. They are a couple of smooth operators. The tone and timbre in Guthrie-Jones’ vocals is particularly impressive.

I must make mention of the numerous costume changes that help carry the show. From elegant to glitzy and even casual, Hillam’s wardrobe is amazing, while Guthrie-Jones too has his moments, be it in a tuxedo, in velvet jackets or tails.

With the aid of a desk and a few props, they take us on a journey back to the 1930s, ‘40s and ‘50s.

At the end of the day, it is still the music that carries the most weight, many striking, lyrical songs in the repertoire.

Emerson’s piano solo to start Act II is undoubtedly one of the show’s frequent highlights.

So, The Forgotten Songbook is all about a man and his music. Was he real or merely a conceit? It hardly matters, for his legacy is there for us all to hear … and savour.

See it at Chapel Off Chapel until 27^th July, 2025 because this offering is lively, engaging, entertaining and fun, complete with some wicked stories.