The Everyman’s creative director, Paul Milton, is still tapping in to his rich seam of material based on the great pre-war American songwriters. After Cole Porter and Irving Berlin, The George Gershwin Songbook is another little gem. In the previous two shows Paul managed to create a story line using just the lyrics (having any spoken plot would lead to licensing issues) but The George Gershwin Songbook is a straight tribute with biographical details punctuating the songs. And what songs. They are songs that have always, and will always, be with us. Although intrinsically American and little to do with our way of life, are woven into the fabric of our memories and psyche. Although, that said, the music from all three composers is firmly rooted in the old European Jewish tradition.

What gets me, even more that the wonderful tunes, are the lyrics. Gershwin, and indeed the others seemed to have the own rhyming dictionaries, unavailable to ordinary mortal songwriters. For instance, from It Ain’t Necessarily So . .

Li’l David was small, but oh my!
He fought Big Goliath
Who lay down an’ dieth!

Oh Jonah, he lived in de whale,
Fo’ he made his home in
Dat fish’s abdomen.

The setting for the Songbook this time was a sophisticated downtown bar with the champagne and cocktails flowing freely. Corin Hayes had produced a really nice set complete with shiny floor and mirror ball. There were some new faces this time too. Previous company members Peter Banks, on the piano, and Caroline Mander were joined by Grace Eccle and Jonny Muir. It was mainly ensemble numbers but, of course, they each had their solo spots. I particularly like Caroline Mander’s inebriated rendition of Vodka. There was also some very fine a capella singing, I Got Rhythm for example, under the watchful eye of Peter Banks.

Mr Muir is a personable young man with a fine voice and an easy going manner ideally suited to this show. But for me the star of the evening was young Miss Eccle. She managed to combine a clearly show-biz training with an unaffected simplicity. Her voice was very old-fashioned and sweet, unlike too many modern West End musical belters – and she was listening to what she sang which is something singers often forget to do. I thought her best  solo was The Lorelei – fabulous. I liked her a lot.

Although these are the songs of our parents and grandparents their sheer quality breaks through all barriers. If you like good songs you’ll like George Gershwin. Congratulations to Paul Milton, can’t wait for the next Songbook.  ★★★★☆    Michael Hasted   23/04/15