Neil Simon Theatre
New York, NY

With one notable exception, the Fab Faux, Beatles tribute bands face an uphill battle from the start. Instead of going straight for the music, getting together musicians who sound the most like the Beatles and paying tribute in that specific way, many of these bands go the extra yard for their audiences (though maybe also for themselves) and insist on looking like the Beatles, too, in mannerism and dress. This might be less by design than by necessity, surrounded on all sides by musicians more willing to adopt slight accents and dance steps to horn in on the Beatles tribute dollar. Nonetheless, it is because of this attempt that their entire imitation must be taken into account in any review or discussion of them.

Rain, the Broadway production, expands this spirit of replication to an even broader scope. While many such bands address the songs more or less chronologically, playing the black-and-white material in ordinary suits, maybe tackling the studio half of their career in more colorful ones, Rain also gives the viewer a little bit of context, the first clue that this show is not necessarily just for the hardcore fans who might not want or need the context but only the music and maybe the suits. Two screens flank the stage and as the show starts, familiar images set the scene: Bill Haley pops up, as does Chuck Berry, as do other musicians, as do many, many young people doing the Twist. These clips do as much to illustrate the tone of American pop culture at the time as it does to enumerate the Beatles’ influences. The two strands meet with footage of the Beatles landing in America on February 7, 1964 and showing up on The Ed Sullivan Show soon thereafter.

A Sullivan soundalike (maybe not so much a lookalike) introduces these lads from a large screen covering the stage. He welcomes us to Rain, the screen is raised, and the performance begins. Arrows all over the place guide Beatle fans to a familiar place. The band kicked right off with “I Want to Hold Your Hand” and I soon heard what would grow to be a conspicuous part of the program: Many of these songs are abridged for the production. Verses and choruses are cut out of many of the 1962-1966 era songs. The replication is largely convincing but the changes, to versed ears, are nonetheless jarring. The second portion of the show, beginning after “A Day in the Life,” is thankfully less edited.

Fans of The Beatles: Rock Band will be familiar with the trajectory of the show. While The Cavern Club and Budokan are not seen, there any many identical locales among the many set changes, one after every four or five songs or so. The flanking TVs show clips to pass the time, seconds for us, years for the show. In short order we go from The Ed Sullivan Show to the buildings of A Hard Day’s Night to Shea Stadium, and others, with costume changes along the way. These changes are not unnecessary. They clue in those of us who didn’t live through it just how quickly the Beatles’ style changed from album to album, from year to year.

This visual component was hugely important to the production itself, probably its defining characteristic. The music itself exists in other forms, played by other bands, so it was essential for the production to play up its more spectacular components when possible. The Sgt. Pepper-inspired era was most striking for this, when during “Strawberry Fields Forever,” blue-green lights enveloped the ceiling and the audience. The translucent screen came down and large images of strawberries poured over them. This chapter of the Beatles’ career was the best the show had to offer in that regard. Oddly, though, when I looked around at the audience, no one was clapping, swaying, nodding, or anything like that. One guy did cough.

The audience, however, was more moved by the acoustic interlude that followed. The gang onstage went a little out of chronological order for style’s sake, but we went it. This ordering hinted that while the linearity is helpful it may not be altogether necessary. After a rousing “I Am The Walrus,” the guys went into “Girl,” “Blackbird,” and “Two of Us,” which while maybe not as big a song as most, got a terrific response and was well sung. I particularly enjoyed “While My Guitar Gently Weeps,” which began as the acoustic version from the Anthology and ended up the electric album track. Fake George Harrison played Clapton’s solos with accuracy, heart, and a mustache, all of which was terrific to see.

Maybe concurrent with those steps out of the timeline, the show lost some of its contextual focus in the second half. The first set of film clips led right to 1964, while a second set brought us through “California Dreamin’” right to the moon landing and Woodstock even before the guys could play songs from years in between. It was a confusing choice. Also confusing was the fact that this Fake Paul McCartney played bass left-handed, but guitar right-handed. I have no idea.

As for the imitations themselves, these performers were actually pretty good. The secret to the early Beatles is in the feet: John’s shoulder-width apart, steady as a sawhorse; George almost walking in place during solos; Paul twisting knee over knee. The hair and costumes were well done. Two criticisms, however: Fake Ringo had a gloomy look over him most of the time, at least in the second half. Maybe he was channeling Real Ringo’s dissatisfaction with the time period. Singing-wise, Fake Paul sounded more like the real thing than Fake John, but only slightly. More significantly, I sensed restraint on all of their parts with some of the higher notes, and this was sort of a big deal. The Beatles, as far as I know, shattered restraint all over the place and just went for those notes. With these guys, it seemed less about limitations of their vocal ranges than about saving their voices for the next few months. I can understand that, I guess, if it has to be that way.

Despite the occasional holding back, the best performances of the night were “I Saw Her Standing There,” easily, “Day Tripper,” “Strawberry Fields Forever,” “Two of Us,” “While My Guitar Gently Weeps,” “Get Back” and the ecstatic closer, “Hey Jude.” Strangely enough, the band didn’t play the song “Rain,” but it was played over the speakers as we were leaving. The fifth Beatle onstage played keyboards and absolutely nailed all the synthesized parts that fleshed out these songs. It was pretty incredible to consider what he pulled off. One personal criticism: During “The End,” Fake George played all three guitar parts instead of the three Beatles taking turns as on the record. Practicality trumped historical accuracy, I guess, but I’d say it is that set of priorities, those rounded edges, that make a Broadway show different from a rock show.

I do recommend Rain for first-time Beatles tributers especially and all fans who like a little pepper on their steak, some context with their music. The show is not just about the music so I can’t judge it solely for that: It succeeds in its noble attempt. The performers lack some of the polish of other longer-term Beatles tribute bands, and much of the power of groups like the Fab Faux (who while talented also perform their shows less often), but it was a worthwhile evening nonetheless, offering something unique among the familiar, beloved material.

Setlist:

(Video introduction: 50s through early ’64)

On Ed Sullivan:
I Want to Hold Your Hand
All My Loving
This Boy
I Saw Her Standing There

A Hard Day’s Night-style:
A Hard Day’s Night
I’m Happy Just to Dance With You
Yesterday

At Shea Stadium:
I Feel Fine
Day Tripper
Twist and Shout

(Hilarious commercials for Winston Cigarettes, Duz, Prell, Volkswagen and Curl Free)

Right off the cover of “Sgt. Pepper”:
Sgt. Pepper’s Lonely Hearts Club Band
With a Little Help From My Friends
Eleanor Rigby
Strawberry Fields Forever
When I’m Sixty-Four
Sgt. Pepper’s Lonely Hearts Club Band (Reprise)
A Day in the Life

INTERMISSION

(Video introduction: the late 60s)

Surrounded by Psychedelic Images:
Hello Goodbye
I Am the Walrus
Girl
Blackbird
Two of Us
While My Guitar Gently Weeps

Outside Abbey Road
Come Together
Get Back
Revolution
The End

Encore
Give Peace a Chance
Let It Be
Hey Jude