I left part of my heart at Musical Theatre of Connecticut this weekend.
Director Kevin Connor’s enchanting production of Barry Manilow and Bruce Sussman’s “Harmony” is the kind of theatrical experience that lingers long after the curtain falls. The Professional Regional Premiere—and only the second production of the musical following its 2023 Broadway run—brings to the stage the true story of the Comedian Harmonists, six young men whose extraordinary vocal talent propelled them to international fame in 1920s and 1930s Germany.
“Harmony” is not simply a story about six singers. It is a story about friendship, love, ambition, identity, and the extraordinary ability of music to bring people together. Five members of the ensemble are Jewish and one is Catholic, and as their fame grows, their shared artistry allows those differences to recede into the background. Then the political landscape of Germany changes, and the world around them becomes increasingly hostile. Their music, friendships, careers, and ultimately their lives are placed in jeopardy.
Connor’s production understands that the tragedy of “Harmony” is not simply what happens to these men, but how gradually the world around them changes. That makes the joy of the first act all the more affecting—and the darkness that follows all the more devastating.
Words hardly describe how deeply this cast moved me. There were multiple moments when I found myself in tears, not simply because of the tragedy unfolding onstage, but because these performers seemed to understand the responsibility of telling these stories. Their voices reached beyond the theatre and demanded to be heard.
Manilow’s score is nothing short of extraordinary. The musical requires a cast capable of delivering demanding vocal arrangements while simultaneously sustaining the dramatic weight of the story, and this ensemble possesses both the vocal chops and the stamina to make that achievement appear effortless.
At the center is Frank Mastrone (Rabbi), who serves as the production’s omniscient narrator and emotional guide. Mastrone navigates the character’s memories with remarkable nuance, moving between the exhilaration of the group’s success and the painful knowledge of what ultimately became of them. His performance is particularly effective because Rabbi is not simply recounting history—he is wrestling with it.
Mastrone allows the audience to feel the paradox of his character’s experience: the joy of remembering extraordinary moments alongside the guilt, grief, and regret that accompany those memories. His spoken lines carry as much emotional weight as his singing, and his performance gives the production its essential human perspective.
At the heart of the ensemble are the six Comedian Harmonists, and Constantine Pappas as Young Rabbi is a standout. Pappas, who was part of the original Broadway production and officially understudied the role of Young Rabbi, brings a rich baritone and an extraordinary command of the stage.
His performance of “Every Single Day” literally stopped the show.
There are performers whose voices impress you, and then there are performers who make you stop thinking about the mechanics of singing altogether. Pappas belongs to the latter category. When Pappas sings, it feels like time stops and every note unlocks a new part of your soul that you never knew existed. His voice seems able to travel beyond the confines of the theater itself, while his understated generosity toward his fellow performers keeps the focus where it belongs: on the story and the ensemble. Clearly talented enough to steal the spotlight at any moment, his energy and dedication to the work of making art on stage with his fellow artists is commendable and impressive.
His chemistry with Jazmin Gorsline (Mary) is equally compelling. Their relationship develops through small gestures and carefully observed moments, with an intimacy that feels genuine rather than manufactured. The physical storytelling is particularly effective, reflecting the thoughtful work of Dan O’Driscoll (Intimacy Coordinator).
Jeff Raab (Harry) brings an entirely different energy. His quick wit and physicality capture the whirlwind of the group’s meteoric rise, while his scrappy determination creates a character who is both entertaining and fully dimensional.
Michael Alonzo (Chopin) injects the production with an infectious energy and a welcome sense of humor. His chemistry with Michelle Pauker (Ruth) is undeniable, and the two are a genuine pleasure to watch whenever they share the stage.
Dominic Pagliaro (Bobby) possesses a booming bass that fills MTC’s intimate space. His physical presence is equally commanding, and Pagliaro uses that imposing quality effectively in both comedic and dramatic moments.
Balancing that sound is Christian Libonati (Lesh), whose tenor provides some of the ensemble’s most remarkable vocal moments. His ability to sustain seemingly impossible notes and effortlessly climb into the upper reaches of the musical arrangements adds another dimension to the group’s already impressive vocal architecture.
Cameron Edris (Erich) contributes yet another layer of energy, particularly during the production’s more exuberant sequences. Also serving as dance captain, Edris helps maintain the precision of Chris McNiff’s choreography, which provides welcome moments of levity amid the increasingly tragic narrative.
Robert PeterPaul (Fritz/Ezra & Others), Joseph Torello (Titus/Obersturmfuher) and Matt Mancuso (Standartenfuher) bring strength and specificity to their various ensemble roles, while Helen Clare (Rosa & Others) and Quinlyn Kessler (Clara & Others) add grace and energy throughout the ensemble. Each performer contributes to the sense that this is not simply a collection of individual characters, but an entire world surrounding the Harmonists.
That same sense of collective artistry extends to the musicians.
Led by Music Director and Keys 1 player Zachary Anderson, the offstage band is an essential part of the production's emotional engine. Jess Ong (Keys 2), Alan Lounsbury (Bass), Nate Dobas (Drums), and Gary Ruggiero (Reeds) deliver the score with precision and energy. Their musicianship never overwhelms the performers; instead, it creates the foundation upon which the cast can build.
Brian Salvia’s sound design keeps that balance intact, allowing the vocal arrangements to remain the production’s beating heart.
The production’s visual elements are equally important. Sean Sanford’s scenic design supports the storytelling without competing with it, while Diane Vanderkroef’s costumes help establish the period and distinguish the many worlds inhabited by the characters.
Jac-Que Robinson’s lighting design, however, provides one of the production’s most memorable images. As the performance comes to its conclusion, the audience is surrounded by immersive starlight. The effect is ethereal, almost otherworldly. It transforms the final moments from a theatrical ending into something closer to remembrance—a collective act of looking back at lives, voices, and people who should not be forgotten.
That distinction is important because “Harmony” ultimately asks the audience to remember.
It asks us to remember what happens when prejudice becomes normalized. It asks us to remember the people behind historical statistics and political events. Most importantly, it asks us to remember that before these men became victims of history, they were artists, friends, sons, lovers, and human beings who laughed, loved, dreamed, and sang.
That is where Connor’s production finds its greatest strength.
Supported by the professionalism of Stage Manager, Lou Ursone, Props Master, Lauren Weglian, and the entire creative team, “Harmony” is simultaneously tenacious and tender. It is loud and quiet. Joyful and heartbreaking. Gentle and brutal.
In other words, it is life in all its richness and sorrow.
And perhaps that is why it reaches so deeply.
There is a moment in theatre when the distance between audience and performer disappears—when a story ceases to feel like something being presented to you and instead becomes something you are experiencing alongside the people onstage.
Musical Theatre of Connecticut’s “Harmony” achieves that.
I left the theatre carrying the music with me, but also carrying the responsibility of remembering the people whose stories that music preserves.
Some productions entertain you.
Some move you.
And every once in a while, a production reminds you why we gather in a theatre in the first place.
”Harmony” is on stage at Musical Theatre of Connecticut from September 11th- September 27th. Tickets can be purchased at https://www.musictheatreofct.com.