American Heart in WWI, on PBS

There were more American casualties during the Meuse-Argonne than in any other battle, in any other war. Yet, most Americans rarely think about WWI, despite its drastic geopolitical consequences. “The Great War” also inspired celebrated literature and enduring songs, all of which historian John Monsky incorporated into the remarkable concert presentation American Heart in WWI: A Carnegie Hall Tribute, which premieres tonight on PBS.

Encompassing multimedia, staged readings, and a full symphony orchestra, Monsky and five Broadway performers present WWI through the eyes of three soldiers and two women who mourned them. James Reese Europe was a self-made Harlem bandleader, whose Harlem Hellfighters developed a fierce reputation fighting alongside the French, because their white countrymen did not want them. In contrast, Quentin Roosvelt led a privileged life as TR’s son. Monsky frequently compares New York lawyer Charles Whittlesey to Fitzgerald’s Jay Gatsby, who becomes a recurring motif of the staged concert (even though Fitzgerald never saw any direct action).

Vera Brittain chronicled her service as a military nurse in her bestselling memoir Testament of Youth, as well as her grief for her lover, brother, and friends. Likewise, Flora Payne Whitney also hailed from an elite family, but her romance with Roosevelt would be tragically cut short.

There is a good deal of syncopation in the Carnegie Hall concert thanks to Europe. Arguably, he was the biggest bandleader of the late 1910s, who could have been even more significant than Ellington had he lived longer. It is nice to see him get his due in Carnegie Hall, where he played historic concerts with his own orchestra, particularly since his surviving family were there to witness the moment.

In addition to Europe, there is music from many of the Great American Songbook composers, like Jerome Kern, whose “No, We’ll Never Tell” is poignantly expressive of Monsky’s themes. Many of the arrangements are surprisingly sensitive and inventive especially George M. Cohan’s typically martial-sounding “Over There,” which is elegiacally transformed.

Fittingly, there are several selections by Irving Berlin, including tunes he wrote for a revue staged at Camp Upton. There is also a stirring rendition of a tune he cut from the show, but eventually premiered during WWII: “God Bless America.”

Throughout the staging, Monsky skillfully brings his themes full circle. His text undeniably celebrates veterans and America. He also addresses his own family connections in ways that convey the War’s lingering influence rather than shoehorning himself into the narrative.

Indeed, this is a thoughtfully conceived, emotionally resonant evening of history and music. Frankly, one of the greatest surprises is how fresh the nearly 100-year-old songs sound, as performed on the Carnegie Hall stage. Yet, the tributes to the fallen soldiers and those maimed by the new advances in warfare really land with authority.

Arguably, as a country, we are only now starting to properly commemorate the sacrifices made by U.S. servicemen in WWI, starting with the completion of the National World War I Memorial last year. It is also refreshing to see PBS schedule several nights of programming inspired by Veterans’ Day, especially of this level of quality. Very highly recommended, American Heart in WWI: A Carnegie Hall Tribute airs tonight (11/11) on PBS.