“Satire is what closes on Saturday night.” So said George S. Kaufmann, in no quipping mood when his original script for Strike Up the Band folded in Philly. The first of three political spoofs scored by George Gershwin with an assist from his lyricist brother Ira, this one reopened on Broadway in 1930 with a reshuffled song list and script-doctoring by Morris Ryskin, who likened the job to “rewriting War and Peace for the Three Stooges.” (Ryskin, who collaborated with Kaufmann on screenplays for the Marx Brothers, knew whereof he spoke.) For the one-night-only Carnegie Hall performance, Laurence Maslon and Ted Sperling have put the book through the typewriter again (“Does anyone still have a typewriter?”), hoping to open the door to a slew of new stage productions. Certainly tunes like “The Man I Love” and “I’ve Got a Crush on You” will be a strong inducement. Sperling, the artistic director of MasterVoices’ orchestra and 120-member chorus, is the maestrissimo of such rediscoveries, and he always casts them to a fare-thee-well. Among eight featured Broadway luminaries, we’ll single out the peerless Victoria Clark, of A Light In the Piazza and Kimberly Akimbo fame, and Bryce Pinkham, who killed it, simply killed it, in A Gentleman’s Guide to Love and Murder. —Matthew Gurewitsch