LIZ CALLAWAY - “Passage of Time”
Metropolitan Room, New York City
October 22, 2009
Reviewed by: Sandi Durell
 Honey voiced Liz Callaway is always a joy to hear and behold. Hard to believe that this show celebrates the release of her 4th Solo Album, the first CD in eight years! However, the “Passage of Time” surely focuses on the realities we must all face – life goes on and before you know it, you’re an empty nester! With her kids out of the house, she can now concentrate on songs like Brazilian rhythm “Let Go,” (Baden Powell/Vinicius de Moraes/English lyrics:Norman Gimbel) with special lyrics to “let the world know I’ve a brand new CD and spent over a year making something (she assumes) no one will hear!”
Callaway is joyous and sincere as she charms with patter that seems off the cuff (but well thought out and rehearsed) telling stories about the old days of Tower and Virgin Records where she would appear incognito in dark glasses to check out her CDs on the racks. Alas, those days are gone but there’s always Amazon.com and CDBaby.com!
The show and CD feature songs that are a potpourri of who she is today. Flaherty/Ahrens “Nothing To lose (But Your Heart)” is a poignant and hopeful song about starting over which triggered romantic thoughts about the fact that she and hubby just celebrated their 24th wedding anniversary leading into “Make Someone Happy (Styne/Comden & Green) and “Something Wonderful” (Rodgers/Hammerstein). What’s particularly enchanting about her is her soft, quiet and internalized emotion that bubbles to the top.
She had many life experience stories to tell about her career beginnings debuting on Broadway in Sondheim’s “Merrily We Roll Along” to Tony Award nomination for her performance in “Baby” and subsequent five years as Grizabella in “Cats.”
Ed Kleban’s “Better” doesn’t need a bit of improvement as it was perfect as a samba and “Patterns,” cut during the preview of “Baby,” was filled with depths of heart wrenching emotion with the knowledge of how difficult it is to break familiar day to day life routines and change. Top notch arrangements are by Alex Rybeck, Musical Director/ pianist on her CD along with Jered Egan, bass; Kevin Kuhn, guitar; Ray Marchica, drums and direction by husband Dan Foster.
The bottom line is James Taylor’s “Secret O’ Life”- - it’s a lovely ride, enjoy the passage of time.
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THE ABINGDON THEATRE COMPANY and “MARATHON ‘33”
By Sandi Durell
In January 1993, Abingdon Theatre Company was founded by five theatre artists with one common goal — to develop and produce new plays exclusively by American playwrights. It is located in New York City headed by Artistic Director Jan Buttram. Since its inception many notable productions have graced their main stage known as the June Havoc Theater.
Webster Hall was the chosen venue to which 275 guests flocked in support of Abingdon on October 19, 2009. What could be more meaningful than to create a benefit evening celebrating June Havoc, the seven marathons in which she danced starting at age 14, the twenty-two Broadway plays and two autobiographies upon which “MARATHON 33” is based!
MARATHON '33, which Miss Havoc (now 93 years of age) also directed, is the story of her participation in these marathons. In 1933, the entire country was steeped in the Great Depression and unemployed, but a group of talented performers competed to see who could dance the longest -- and collect the much-needed prize money. Sixty couples began the competition. After five to six months of endless dancing, the field was narrowed to a handful. The marathoners danced for 45 minutes out of every hour, 24 hours a day. The 11-minute rest period and the two minutes to get to and from the dance floor were enough rest for the first 800 to 1,000 hours. Sleeping while leaning on one's partner was a necessity. Calluses developed after the first 500 hours. After the 1,000-hour mark, sprints, grinds and similar events occurred until contestants collapsed and fell by the wayside.
The tribute and re-creation of this dance competition from the 1963 Broadway show that starred Julie Harris, brought out many of the “Baby June/Dainty June” actresses including Leigh Ann Larkin, Sami Gayle, Jacqueline Mayro, Alice Playten and Merle Louise. The evening’s Honorees included five-time Tony Award-winner Julie Harris and Abingdon Board Chairman Emeritus Margot London. Tony Award-winner Karen Ziemba, star of Broadway's CURTAINS, CONTACT, STEEL PIER and NEVER GONNA DANCE, performed standards of the Great Depression Era, in an evening co-directed and co-choreographed by Tomé Cousin and Peter Gregus.
In the spirit of Miss Havoc's play, a cast of more than twenty performers did the jitterbug and jive to the sounds of bygone days. The ensemble cast of MARATHON '33 included Noah Aberlin, John Alix, Lisa Anthony Biagini, Peter Brouwer, Julie Connors, Mark Stuart Eckstein, Curtis Howard, Sonia Iannetti, Scott Larsen, Steve Luker, Bill Nabel, Ron Nahass, Cassandra Palacio, Rachelle Rak, Andrew Rannells, Francis J. Roach, Kelsey Robinson, Erika Shannon, Bara Swain, Laura Swanson and Kirstin Tucker.
Guests had the fun of swing dance lessons and filled themselves with era comfort foods including hot dogs, pretzels, peanuts, cotton candy and beer.
The Abingdon Theatre Company is a New York City mainstay producing fine theater and should be on everyone’s list whether resident or visitor!
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"Memphis"
"It’s the 1950’s, Rock n’ Roll and Racism"
Reviewed by: Sandi Durell
October 20, 2009
 Why would a cracker boy be wandering into an R & R, soul club below ground, namely Club Delray, on Beale Street, in the black part of town, Memphis, Tennessee in the 1950’s? No he’s not crazy, he’s possessed by the sound. . .it’s “The Music of My Soul” cries Huey Calhoun (Chad Kimball), a slippery, sometimes seedy, character who’s a quirky, smooth-talking dissenter of the times. The folks down there are ready to toss him out on his butt, until he sits down at the piano and knocks out a tune showing them he’s for real. The potential for love develops quickly when he hears Felicia (Montego Glover) wail and groove out “Underground.” From that moment, he has big plans to get Felicia heard and make her a star.
The score is smoothly written by Bon Jovi’s David Bryan with Joe DiPietro and is a compilation of rock n’ roll, blues, gospel with some soul for good measure. David Gallo’s sets have a multiplicity as they easily change from club to radio station to shabby living apartment.
Huey can’t read, he’s a school drop-out but all that aside; he’s clever and has a vision. A stock boy at a department store, he figures out a scheme to perk up sales in the record department (or lose his job), and as real life singing pop ups of white folks’ music, i.e. Perry Como and such, reinforce the status of things as they are, Huey sneaks on black folks’ music, making record sales fly thru the roof. However, he is fired from his job and looks for employment as a DJ at a local radio station. When the DJ leaves the booth, Huey quickly locks himself in and spins “race” records to a young white audience, previously listening to Patti Page and Roy Rogers, are hungry to groove. Station owner, Mr. Simmons (Michael McGrath) tells Huey to “get on the air, tell ‘em you’re white” as ratings rise and “Everybody Wants to Be Black on a Saturday Night.”
 Needless to say, Felicia and Huey fall in love, but with times as they were in the south of the 1950’s, that was fodder for violence as racial laws and social injustice were not color blind. Felicia’s brother, Delray (J. Bernard Calloway), isn’t too fond of Huey either. Huey’s Mama (Cass Morgan), a God fearing waitress, all but faints when she meets Felicia who she says “ain’t nothin’ but a colored girl.” By the second act, however, Mama is singing along with the black gospel choir as her boy, who she never thought would amount to anything, is rated numero uno, has his own TV show taking along Bobby (James Monroe Iglehart), the janitor at the radio station, who turns out to also be a singer and turns in one of the top performances both vocally and other with “Big Love.”
Huey buys Mama a house, introduces her on TV, where she no longer looks frumpy and seems won over by the new move for equality. This quick change brings up the book’s short comings and the amateurish approach to the entire race issue.
Finally, achieving his goal of Felicia singing live on his TV show, he commits the ultimate no,no; kissing her on TV, in front of all to see, in a world that hasn’t yet assimilated black and white. Felicia gets a big record offer in New York as Huey begs her to stay with him in Memphis where he’s happy doing his thing. Included in the book are the obligatory violence and pathos, sadness and tears.
Kimball’s slippery sloped, sweet talkin’ Huey works well as does his vocal prowess. Glover is lovely as Felicia, with just enough rough girl attitude and a big, big voice to wow any audience. Costumes by Paul Tazewell are slick, colorful and pizzazzy, with terrific lighting by Howell Binkley. The choreography by Sergio Trujillo is inspirational and direction is well crafted by Christopher Ashley.
“Memphis” isn’t new as it’s already had a pre-runner, “Hairspray,” albeit more caricature-ish. However, the theme: music breaks the color barriers and heals all, is always good reinforcement. No matter what the downsides might be, the audiences will like this show and from what I’m told, are already giving it standing ovations.
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"Cross That River"
By Sandi Durell
October 13, 2009
 “Cross That River” is a new musical set in the Wild West of the 1860’s that depicts the tragic, sometimes humorous, life of Blue, a run-away slave who escapes to Texas to become one of America’s first Black Cowboys. Yes, there was a Black West!
It is the brainchild of jazz singer, songwriter, musician Allan Harris who portrays the narrator and the character Blue as he introduces the songs and historical data that unveil the facts that more than one-third of America’s cowboys were black men, not the Lone Ranger, not John Wayne, but escaped slaves, free men.
The story line, told in the first person, is Blue’s journey from slave to free man when he crosses that river to escape the lynch mobs in Louisiana and lands on the Circle T Ranch in Texas. He works off his room and board handling horses and cattle, eventually being hired for a long, dangerous cattle drive. Boy Blue (Brandon Gill), plays Blue’s alter ego. As a slave child he was given to the plantation owner’s daughter, Miss Courtney, (Whitney Bashor), as her play friend and we bear witness to their friendship transcending the color barrier and Boy Blue told by Mama Lila (Soara-Joye Ross) he must steal a horse and escape to save his life.
Love interest Annie Hutchinson (Wendy Lynette Fox), seeking a better life in Abilene, answers a want ad for a mail order bride, winding up with a poor dirt farmer Ben Tuller (Charles E. Wallace) who abuses her until she runs away and becomes the whore of Diamond Jimmy (Joseph Melendez), owner/gambler of Diamond Jim’s Saloon, who is hiding his secret passing as a white man. Blue, in love with Annie, regardless of her occupation, decides to rescue her in a violent gun battle leaving Diamond Jimmy dead.
Tony Perry plays Dat Deere Preacher and full company production number of the same name is a song and dance spectacular that could only evolve from the professional hand and eye of Tony Award Winner Donna McKechnie, Choreographer.
Soul wrenching “I Must Believe,” sung by Mama Lila, is the star performance of the show and “Cry of the Thunderbird” (Blue, Slave) and love ballad “High on a Hill” both memorable. Other cast members include: Timothy Warmen as Lucius and Ole Sam Eye.
Allan Harris’ music and lyrics have already garnered much attention, rightfully so, with book by Andrew Carl Wilk who also directs. Musical Direction and Arrangements are by David John Madore. Cross That River began as a song cycle, evolving into a fully staged theater piece. It is an important historical depiction and has lots of potential. In Blue’s words “I Do Believe America’s Our Hope!”
Cross That River has formed an exclusive restaurant partnership with Ted’s Montana Grill and is part of the 2009 New York Musical Theatre Festival.
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"Superior Donuts"
"A One-Two Punch and glib dialogue make for hope and human kindness."
Reviewed by: Sandi Durell
October 4, 2009
 It’s one-two punch throughout most of Tracy Letts’ recent contribution to the American stage, Superior Donuts currently running at the Music Box Theater, as he lets loose with a machine gun of glib dialogue of social commentary, racial slurs and true emotions. No one is spared! However, this is a kinder, gentler Letts if comparisons are made to his Pulitzer Prize winning dysfunctional drama August: Osage County or paranoid Bug or thriller Killer Joe.
A dark comedy, filled with hope and human kindness, emerges as Arthur Przybyszewski (Michael McKean) a middle aged, 60’s style ponytailed hippie of Polish decent, finds his long time family donut shop vandalized, reacting with little emotion since that left him long ago. The intrusion is reported by the Russian shopkeeper of the DVD store next door, Max Tarasov (Yasen Peyankov), an irritating character who wants to buy Arthur’s shop in order to expand. He is being grilled by two officers, Randy (Kate Buddeke) who has a crush on Arthur, and black officer James (James Vincent Meredith) the butt of on-going jokes as a member of the Star Trek Association. To complete the picture, enter Lady (Jane Alderman), who is very funny as the local alcoholic who stops in for her daily donut.
Arriving on the scene shortly thereafter is sassy, brash Franco Wicks (Jon Michael Hill), a 21 year old black man looking for a job and who quickly sweet talks his way into employment. He immediately launches into a bombardment of ideas to update and upgrade the shop with non-stop suggestions like healthier menu choices – “Superior Donuts. It ain’t horse fat!” or poetry readings and yoga posters to make the place homey. And how about profit sharing? “I believe in it”, says Arthur, “I just don’t provide it.”
In the midst of the comings, goings and quick repartee, there are Arthur’s flashback monologues providing the details of his growing up, family, marriage, flight to Canada to escape the draft, divorce and recent death of ex-wife, and the fact that he has a 19 year old daughter whom he hasn’t seen since she was 13 years old.
Franco surprises as he produces stacks of writing pads and notebooks that are his manuscript, the Great American Novel entitled “America Will Be” which he asks Arthur to read but not without first giving him the Name ten black folks test. Wicks (Hill) is surely the engine that runs the train with his wit and charisma as he brashly wiggles his way into Arthur’s heart revitalizing him in all ways regarding his dressing and grooming, enabling him to pursue love interest Randy – “trim your eyebrows…you want the lady cop to frisk you…” and to help him emerge from an emotional sleep that has plagued him all his life.
Franco is not without his own problems having recently left college in order to take on a fulltime job to pay off gambling debts that eventually lead to violence against Franco and a fight scene where Arthur not only pays off Franco’s debts to the bookies, but physically attempts to defend his honor and in a heroic effort takes quite a beating himself.
The upshot is the emotional liaison that develops between Arthur - McKean who is understated in his portrayal, and Franco - Hill making his Broadway debut and putting himself on the map, as he teaches Arthur the art of living, learning an invaluable lesson himself.
Superior Donuts is directed by Tina Landau; sets by James Schuette, costumes by Ana Kuzmanic, lighting by Christopher Akerlind, sound by Rob Milburn and Michael Bodeen and is a Steppenwolf Theater Company production. It has an open run.
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"A BOY and HIS SOUL"
"Childhood Memories make for an emotional musical ride"
Reviewed by: Sandi Durell
October 2, 2009
 Childhood memories are forever albeit sometimes recessed deep within until a time, a word, a moment a place or a smell bring them bubbling to the surface. This is the premise for Colman Domingo’s autobiographical piece “A Boy and His Soul” at the Vineyard Theatre in New York City. The catalysts are his parents’ vinyl LP records found in the basement of their deteriorated house in Philadelphia when sold and left in JJ’s hands to clean out. JJ is Domingo’s nickname.
So begins a stirring and emotional musical ride listening to the R & R and soul music of the singers and groups of the 1970’s and 1980’s that shaped and formed the experiences of this young, black, eventually coming out, gay boy. It’s non-stop nostalgia from Diana Ross, Marvin Gay, Curtis Mayfield, Earth Wind and Fire, Switch, including a Michael Jackson homage. As each record memory is played and simultaneously sung by Domingo, he transforms into the family characters magically and effortlessly, shifting vocally between step-Dad Clarence’s gruff ‘be the man’ baritone, a student of the University of Marvin Gaye and James Brown, to sweet voiced religious Mom Edie, a Diana Ross fan, always refined and wishing to instill culture in her son and with a fascination for watching Tom Jones.
Adding to the on-going charisma of Domingo’s characterizations are his cigarette-puffing stereotypical sassy sister Averie, a Donna Summer fan, who can tongue whip at a moment’s notice, and his macho brother whom he portrays consistently by holding his crotch. Other real life characters include Big Aunt Wynita and a radio D.J., all of whom provide the continuing specifics of Domingo’s musical life memories.
A trip to a gay bar as a college boy is cause for on-going laughter as Domingo faces the realities of his much talked about transvestite cousin Sypherdine, who is “Miss Roxy,” and an encounter with a stripper and a lap dance segment at his brother’s favorite hangout, Poochie’s Brown Biscuits! Eventually coming out to his brother, sister, Mom and Dad are a series of quick character changes and a sigh of relief when Dad repeats Mom’s seemingly only concern: “You don’t wear no scarves and things?”
Colman Domingo was last seen on Broadway in the Tony Award-winning musical Passing Strange and reprised his roles in the film version directed by Spike Lee.
If you love this music, superior acting, singing and dancing “A Boy and His Soul” is a must-see. It is a solo show written and performed by Domingo, directed by Tony Kelly, choreographed by Ken Roberson with sets by Rachel Hauck, costumes by Toni-Leslie James, lighting by Marcus Doshi, sound by Tom Morse and presented at the Vineyard Theater.
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R.R.R.E.D. A Secret Musical
Based on a True Story
Reviewed by: Sandi Durell
October 2, 2009
 What if Redheads became a thing of the past? If globalization and population intermixing by the year 2100 caused the recessive red hair gene to become... EXTINCT ?
R.R.R.E.D, with music and lyrics by Katie Thompson and book by Adam Jackman, Patrick Livingston and Katie Thompson, offers up a way to fight back; a revolutionary organization to take matters into their own hands. It’s THEM (blondes, brunettes, whatever) against US !!! A farce becomes a serious matter to Victoria (Katie Thompson) and GJ (Patrick Livingston) her assistant, as they take matters into their own hands standing up for the rights of red-heads everywhere.
A silly premise to many, but funny to audience peers of a certain age, R.R.R.E.D. certainly maintains an on-going vitality albeit at many times irreverent in its cause to protect red-heads everywhere. The rules: Have a lot of sex with red-heads, procreate in order to further the red population. If it’s not red, it doesn’t get in your bed. And beware of dye jobs! Songs like “What Good’s A Blonde Anyway?” (they infect all with their highlights) and “Revenge” to counter color slurs like copper top or fire snatch, become the on-going mantra and maintain a steady beat throughout. Additions to the cast are made as they appear with Testimonials such as “I’m Not Pregnant, I’m Just Fat” (Kathy Deitch) and “I Like You” (Nathan Balser).
The big happening occurs with a celebrity guest cameo appearance, and at the performance I attended it was Tony Award Nominee Tovah Feldshuh who sabotages the revolutionary meeting with “Redheaded Step-Child” a song about her husband’s little red-headed bitchy daughter. This was by far one of the funniest pieces in the show.
Katie Thompson and Patrick Livingston, who star in their production, are extremely talented and creative, not only singing and dancing, but accompanying themselves, each other and the other cast members on piano, making the 90 minute production continually entertaining. Costuming by David Mendizabal works well and Shea Sullivan, producer, does a splendid job as choreographer. Hats off to director Andy Sandberg!
R.R.R.E.D. is a Special Event and part of the 2009 New York Musical Theatre Festival.
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Cabaret and Other Wanderings with Sandi Durell
Welcome to Camp “PINK”
Down Payment Productions WorkShop Theater Main Stage
Reviewed by: Sandi Durell
September 20, 2009
Stephanie Strohm, Kaela Crawford, Caitlin Mehner, Alison Scaramella & Julia Giolzetti
The Cast of “PINK”
Ah, pubescence, those wonderful years of honesty, no cares, exploration. In this case, however, the girls at Camp “Pink” are the result of a more modern day phenomenon. They are the Me Generation capable of saying and doing anything. They are nasty, vicious and abusive. Five nymphets finding womanhood at sleep-away camp, obsessed with everything sexual as they refer to each other as Vagina and batter each other with brutal honesty, eventually turns into the ultimate horror.
Samantha (Julia Giolzetti), the quiet book reader, sensible and mature is the butt of much battering and ‘odd girl out’; Ashley (Caitlin Mehner) sexually mature, is the leader of the pack, suffering from the dysfunctionality associated with sexual abuse by her father. She is mean, lies and capable of anything as we see at the conclusion. Zoe (Kaela Crawford) is Ashley’s shadow, slave and play toy. Tracy (Alison Scaramella) is good natured, fair and understanding but sometimes caught in the web of being just a 12 year old trying to grow up. Abby (Stephanie Strohm), a bit overweight, would like to have experienced more and finds herself confused much of the time as she is tossed around in the emotional play of the Me Me’s.
The 90 minute ride provokes both laughter and riveting disgust as they tear each other apart with everything from whose Bat Mitzvah they will attend ( 2 of the girls have the same date), the experience of a first menstruation, dealing with parents’ affairs, fashion, cheating, boyfriends, first sexual experiences and all the bitchiness one might imagine.
The final horror occurs as Ashley wants to give Abby the experience of sexuality and, with Zoe’s assistance, Abby is tied up and inadvertently smothered to death. In typical Ashley style, she immediately blames Zoe as she tries to deny who and what she is and has done.
The cast is top rate in their performance abilities, the play disturbing and thought-provoking, and although playwright Stacy Davidowitz assures that the content is entirely fictional and none of the characters and events are based upon real people and events, there remains a BIG question mark in my mind! The run of this play is complete but should it be revived I recommend you see it and decide for yourself.
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Cabaret and Other Wanderings with Sandi Durell
THE BEECHMAN FOLLIES
The Laurie Beechman Theatre – New York City
Reviewed by: Sandi Durell
September 19, 2009
The Laurie Beechman Theatre at the West Bank Café has been presenting some of the finest talent from the Cabaret and Broadway communities. Owner Steve Olsen made the right choices when he brought aboard manager Kenny Bell and the fine producing skills of Phil Geoffrey Bond. This event was a culmination and tribute to the recent extraordinary diverse talents that have graced the Beechman stage. Given the mathematics, in the past three years since Bell and Bond have been aboard, the Beechman has produced an average of 40 shows a month, 440 shows a year, totaling 1,440 shows in the past three years. That’s a WOW!
Opening the show was Carey Anderson, who has appeared in Mamma Mia, Avenue Q, and looked like a little baby doll singing “Skylark”; seasoned Barbara Walsh (Big, Company) chose Jason Robert Brown’s “Stars and the Moon”; MAC & BISTRO Award Winner Jonathan Whitton sang “Box of Photographs.” Molly Pope, a funny, sassy young Diva, sang a passionate “Happy In The Meantime” a message song from A.J. Popoff/Allen Shellenberger/Jeremy Popoff; Alexander Gemignani accompanied himself on Adam Guettel’s distressing “How Glory Goes” while petite Cindy Marchionda (Kiss/Spider Woman – Chicago, Wizard of Oz – Madison Square Garden) sang an eye catching arrangement of “Goody Goody,” slow and bluesy to swingin’.
Heather MacRae (Catered Affair, Falsettos, Coastal Disturbances, original cast Hair) was a standout on Amanda McBroom’s freedom saga “Wheels” sung with all the meaning and fervor it deserved. Quirky, spoofy Susie Mosher (Hairspray) kept the American Songbook going with “Love Me or Leave Me/It’s Alright With Me.”
Kleban and Larson Award Winner Joe Iconis and his menagerie of talented musicians and singers were a BIG hit with “The Whiskey Song” (Whiskey sure works, lawdy I love it . . .) while Diva Testa (Mary that is; Guys & Dolls, Xanadu) reigned in the crowd with “Lay Down Your Head” (Christmas); Clever and witty Phil Geoffrey Bond, an Indiana boy, read a childhood letter he wrote to Carol Burnett, while the channeler of celebrities, Christine Pedi, evoked the spirits of Bette Davis, Ethel Merman and Joan Rivers with “I Will Survive” to throngs of audience laughter. Small and powerful Gabrielle Stravelli (bound for Broadway in Ace) was all bluesy/jazzy on “Please Don’t Tempt Me.”
Clever Jana Robbins re-enacted her 1989 audition for Arthur Laurents to play the role of Mizepa and understudy Tyne Daly on Broadway in Gypsy with “Zip.” She’s still got all the moves, bumps and grinds and smart paced repartee. Annie Golden (Xanadu, original Hair) sang “Clara Bow” which she wrote.
Judeen, Judelle and Belva, The Chalks, were born and raised in Boggy Depot, Oklahoma. These three gals are a hoot for country music fans as they sing, cavort and play guitar, washboard, harmonica and shake a Quaker Oats box for accompaniment on “Mud Flap Mama.” Everyone’s favorite singer/songwriter Steven Lutvak, whose show The Truth About Monty is Broadway bound, sang the poignant “Museums.” The evening came to a close with cabaret favorite Nightlife Award Winner Lisa Asher on Joni Mitchell’s “Both Sides Now.”
The ever talented and much sought after Barry Levitt and trio provided the musical accompaniment.
Lisa Asher, Carey Anderson, Jonathan Whitton, Susie Mosher, Gabrielle Stravelli
Joe Iconis and his menagerie of talented musicians and singers
The Chalks
*All photographs by Maryann LoPinto
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Cabaret and Other Wanderings with Sandi Durell
TISH ONEY
“The Peggy Lee Project”
Metropolitan Room, New York City
Reviewed by: Sandi Durell
August 14, 2009
 Poised and confident Tish Oney (also referred to as Dr. Oney) brightened the Metropolitan Room stage, pretty in red, to celebrate the songwriting talents of Peggy Lee. Ms. Oney had an immediate effect on her audience displaying clarity and directness opening with “It’s A Good Day” (music, Dave Barbour).
Peggy Lee wrote lyrics to some 270 songs, many of which remain unknown. In a short conversation with Tish Oney I learned that, happenstance, Ms. Oney met Peggy Lee’s daughter, Nicki, at a conference in L.A., was told that Ms. Lee had many songs that singers had never sung and several unreleased. A light bulb went off in Tish Oney’s head as she decided this was the perfect Doctoral project as well as putting together this cabaret act that she performs nationwide. She received her Doctorate in Jazz from USC in 2007.
The many songs presented included only a handful of the familiar, “I Don’t Know Enough About You” (Barbour), “He’s A Tramp” (Sonny Burke, from the movie Lady Is A Tramp), “I’m Gonna Go Fishin’ (Duke Ellington, from Anatomy of A Murder) or “Where Can I Go Without You” (Victor Young).
Oney pays strict attention to phrasing and a lyric, creating a warm and sweet vocal on the yearning “The Shining Sea” (Johnny Mercer, from The Russians Are Coming…) and a sexiness on never released “Brand New Baby” (John Chiodini, Lee’s former music director). She is understated in her approach, producing an effortless jazz style. Frequently scatting midstream on many of the tunes, Oney is pitch perfect and the picture of finesse especially on Peggy Lee poem “Burn It Slow,” which Oney set to music in a bossa nova rhythm.
Peggy Lee had a flair for writing songs of encouragement: “It Must Be So,” originally recorded with the Mills Brothers and “There’ll Be Another Spring” (Hubie Wheeler, Shearing album Beauty and the Beat!) that became part of the show’s section of optimism.
In this reviewer’s opinion, some exploration of more dramatic vocal color would enhance the overall effect and although Ms. Oney is accomplished in the world of academia and the musical director and arranger on her show, the addition of another eye or musical director or director would augment the performance. Also, some of the information I personally received on how The Peggy Lee Project evolved as well as more anecdotes about Peggy Lee would surely have been of interest to an audience.
Ms. Oney’s musicians included former mentor Steve Brown on guitar and Paul Beaudry on bass, both great assets.
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Cabaret and Other Wanderings with Sandi Durell
LEE SUMMERS in “WINDS OF CHANGE”
Reviewed by: Sandi Durell
August 3, 2009
 Is that Lee Summers on stage, singing and cavorting? Why usually he’s the quiet, nice looking man greeting people at the door on many a night at the Triad Theatre where his title is General Manager. Well, hold on to your seats because he’s changed hats and released his true talents as an entertainer replete with humor, charisma and just the right amount of playfulness to garner attention!
His show is autobiographical revealing life during college days in the late 70’s while holding down a gig in Nashville’s Opryland, seeing Lena Horne on a street corner whose few words to him “Goin’ up to New York? They’ll give you a good stretchin’ out!” which seemed to reverberate with significant meaning. From there he found himself a struggling singer in the 80’s at The Improv, later gigs at the Motown Café, and moving to French Lick, Ind. to work with a new cabaret theater where he learned the ropes while teaching aerobics because of his dance background.
And then his moment arrived – back to New York to debut on Broadway in “Dreamgirls.” But as he described it, it was such a small part he was barely visible and three years later. . . unemployed! But through it all, his roguish spirit never faltered and after a serious accident breaking his leg in 3 places, with nothing to do for 9 months but heal at Mama’s house, he wrote the off-Broadway musical “From My Hometown.”
This show was a compilation of a focused “If You Could Read My Mind” (Lightfoot) to a fun-loving, audience pleasing Motown medley including “Can’t Help Myself” (Holland-Dozier-Holland) and “Ooo Baby Baby” (Robinson). As a songwriter, his original piece “Winds of Change” was inspirational and poetic. He shone in his characterization as “Mr. Bo Jangles” (Walker) in a brilliant heart filling vocal rendition including all the right moves and special accompaniment on cello by Daniel Shevlin. Accompanying Mr. Summers on piano was Timothy Graphenreed (The Wiz). Leslie Dockery directed.
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Cabaret and Other Wanderings with Sandi Durell
THE EDISON BALLROOM – a renovation and regeneration blended with the sounds of young crooner GARY FIELDS
Reviewed by: Sandi Durell
July 1, 2009
 The preservation of New York City history continues with the talents of the new management team at the Edison Ballroom and the reopening of this gracious venue.
With a long and colorful history, it originally opened in the 30’s as the grand ballroom for the Hotel Edison. It was constructed in the classic “art deco” design and offered dining and dancing to its patrons, while featuring many famous bands and singers from the Swing Era. It was converted to the Edison Theater where various Broadway theatrical productions were offered, the most famous Oh! Calcutta! running 13 years (beginning in 1976). In 1991 the Edison Ballroom became “The Supper Club” where patrons dined and danced to big-band style orchestras or used the venue for private functions.
The renovations removed some of the more recent familiar look such as the star carpeting along with banquets from the main seating area adding more tables. The design by Glen Cohen and Company, a student of David Rockwell (who himself designed the original Supper Club), provides a modern art deco setting and a VIP area.
It’s a lovely space reminiscent of the now defunct Rainbow Room. New management is looking towards satisfying the needs of corporate and private individuals seeking a well located event space as well as providing weekly dining and dancing to big bands thereby continuing its legacy.
It should prove to be a successful new addition as the City recovers from the financial distress that has plagued all sectors of our economy and the entire country. The management team includes Bill Kaelblein, enthusiastic GM and press representative, Sean Campbell booking manager for private functions, and food by Mina Newman of Food Network’s Chopped. (www.edisonballroom.com)
The evening I attended showcased 27 year old singer Gary Fields in his New York City debut. Fields has a new CD Sounds About Right which includes contemporary songs and classics. Influenced by Sinatra, Pavarotti, Buble and Cullum, Fields is silky smooth easy-listen-to jazz, reminiscent of the big band era. Opening with “The Best Is Yet To Come,” other Great American Songbook traditionals included “My Funny Valentine” and a unique arrangement and vocal styling of “Angel Eyes.” His rendition of James Taylor’s “Don’t Let Me Be Lonely Tonight” was a highlight as well. Backed by the outstanding fingers and arrangements of Frank Ponzio on piano, other exceptional band members included: Ayodele Maakheru, guitar; Tommy Morimoto, sax; Vito Lesczak, drums and Mark E. Peterson, bass. As the song title states “You’re Gonna Hear From Me” would best describe the future of talented Gary Fields.
(www.garyfieldsmusic.com and www.savoycommunications.com)
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Cabaret and Other Wanderings with Sandi Durell
MERRILL GRANT
“My Shirley Years”
Metropolitan Room – New York City
Reviewed by: Sandi Durell
June 22 & 29, 2009
 And her hair hung down in ringlets . . . it wasn’t Shirley Temple but the adorably gifted young talent Merrill Grant in a debut tribute to her favorite Little Colonel. Merrill touched the hearts of her audience telling stories about grandma giving her a Shirley Temple doll when she became totally devoted to the iconic child star, singing and tapping her way through her own childhood.
Ms. Grant has a clear, expressive soprano voice that can impersonate the ‘little girl’ intonations of Shirley Temple or show off her own subtle resonance as she moves from one Temple movie song to another including “At The Codfish Ball” (Captain January/1936), “Laugh You Son Of A Gun” (Little Miss Marker/1934 - including dance break), “Be Optimistic!” (Little Miss Broadway/1938) to “Come And Get Your Happiness/An Old Straw Hat” (Rebecca of Sunnybrook Farm/1938).
The show is filled with light-hearted fun and lots of intimate storytelling as the loveable Shirley Temple is brought to life. Did you know Zanuck’s directive as Temple got older? Prolong babyhood and keep her skirts short.
Grant also highlights songs of Temple’s movie adult contemporaries: Dorothy Dell “Low Down Lullabye;” Rochelle Hudson “The Simple Things in Life” and Alice Faye “When I’m With You.”
A multi-talented performer as a singer, storyteller and dancer, Merrill pulls on tap shoes for “You Musn’t Be Discouraged” making her way up and down a small ladder.
Ms. Grant chose some of the finest musicians for her debut including Musical Director Paul Trueblood, Jared Egan on bass, Rex Benincasa, percussion and a cameo appearance by Warren Vache on trumpet. The show is ably directed by Erv Raible.
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Cabaret and Other Wanderings with Sandi Durell
MARILYN MAYE
“Mercer The Maye Way”
Metropolitan Room – New York City
Reviewed by: Sandi Durell
June 12, 2009
 Presenting The Grand Duchess of Cabaret – Marilyn Maye! It seems the other titles are spoken for by other female performers of prominence and this one fit perfectly. Ms. Maye has had a lengthy career having been named "one of the best singers in the business, outstanding, a super singer!" by the late great Johnny Carson. She appeared 76 times on The Tonight Show.
The cabaret community climbed aboard the Marilyn Maye train when it landed at the Mabel Mercer Convention and Metropolitan Room in 2006 and has stayed aboard the speeding locomotion created by this lady (of a certain age) who continues as an eminent teacher of the art of performing.
In a celebratory tribute to the man of words Johnny Mercer, on this 100th Centennial of his birth, Ms. Maye creates a party every time she's on stage opening with medley "My Shining Hour," "Too Marvelous for Words," "Jeepers Creepers," "Something's Gotta Give". . . and the audience roared! It's a love-in as the crowd savors every morsel. She didn't have a lot of time to put this show together, has a lot of lyrics in her head and since there's no teleprompter, "I have a music stand" (of which she's usually disapproved) confided Ms. Maye. No matter, the few lyric glitches only endeared her more, showing off a jewel of professionalism.
Her technique of pairing songs that compliment rhythms like "Out of this World" and "Old Black Magic" is artful and filled with passion. Relating to Mercer's drinking, Maye quipped it was surprising they didn't get married since all her husbands were alcoholics. It was a great set up to a medley of songs including "Drinking Again" and "One For My Baby and One More For the Road" filled with riffs and vocal maneuvers that became a theatrical wonderment. Down and dirty "Blues in the Night" continued the momentum.
Mercer wrote many female name songs like "Emily," "Laura" and "Tangerine" as well as Academy Award winning movie songs "Moon River," "Days of Wine and Roses" and the celebrated "On The Atchison, Topeka and the Santa Fe." They all took on new meaning the Maye Way.
She swings with the best of them, particularly on favorite rhythm, the jazz/waltz as she relates to finding the much sought after Tedd Firth (her pianist) at Birdland one evening when she got up to sing "Luck Be A Lady."
The great lyricist and great lyric interpreter Marilyn Maye shown bright "When The World Was Young." After hearing the inexorable Ms. Maye, the question is…is there any other way but the Maye Way? Adding to the accompaniment was Tom Hubbard on bass and her drummer for 40+ years, Jim Eklof.
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Cabaret and Other Wanderings with Sandi Durell
MARK NADLER
". . .His Lovely Wife Ira"
Ira Gershwin with and without George
Reviewed by: Sandi Durell
June 11, 2009
 The indefatigable, multi-talented virtuoso, Mark Nadler, is back at the Metropolitan Room in New York City with an extended run of a faux-pas. At least it started out as such when a British radio announcer erroneously introduced George Gershwin and 'his lovely wife, Ira.' Leave it to intellectual researcher and performer extraordinaire Nadler to pick up on and use this as a title for his latest show highlighting Ira as the 'indelible ampersand' to the more outgoing George.
A more subdued Nadler opened with George & Ira's "Gotta Have Me Go With You"/"I'll Supply The Title (You'll Supply The Tune)" with music by Harold Arlen, as a lesson in collaboration. Together with educational storytelling, the audience is mesmerized by the musical lessons learned: Verbal prowess wins! Ira Gershwin was a slave to the lyric, as Nadler's caressing of "Embraceable You," softly, quietly demonstrates. In answer to which came first; the music or the lyric? In the case of the Gershwins, the dominant George came up with the music followed by Ira supplying the words. Words were Ira's children.
Lest we forget, Nadler's zany comic side is still alive and well as he regales the audience in song and history throughout, even trying a little tap dance on the carpeted stage while playing the piano. He's like an excited child who has discovered something new and can't wait to tell everyone.
New meanings are uncovered in old standby "Love Is Sweeping the Country" as a forerunner to gay marriage as the lyric is dissected: "each girl and boy alike….all the sexes from Maine to Texas." The running theme throughout the evening of Ira Gershwin's reworking a lyric 30 to 40 times beginning as "Midnight Madness" (music Jerome Kern) until its final bow as "Long Ago and Far Away" is another insightful Nadler commentary. Introspective "Someone To Watch Over Me" portrays Ira's genius of how do you say "I Love You" without actually using the words! Nadler highlights the Bible characters in "It Ain't Necessarily So" with a wit and humor that puts a new spin on Porgy & Bess.
To try and come up with new adjectives describing the brilliant Mark Nadler would be a waste of time and energy. Just suffice it to say that this new show is one of Nadler's most brilliant in his evolution as a great artist.
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Cabaret and Other Wanderings with Sandi Durell
63rd ANNUAL TONY AWARDS
by Sandi Durell
June 7, 2009
THE NOMINEES ARE. . .AND
THE WINNER IS . . .
The 63rd Annual Antoinette Perry Awards took
place on Sunday June 7, 2009 at Radio City Music Hall. At the Red Carpet, this
writer was given the golden opportunity of up close and personal chats and
overhearing tidbits from many nominees and celebs passing through on their way
inside Radio City Music Hall. The women be-jeweled and be-gowned, many in designer frock, were all smiles. Martha
Plimpton, nominee for Featured Actress in a Musical (Pal Joey) revealed
“I was terrified and got through because Graciella Daniele is a mammy
choreographer.” Nominee for Leading Actor in a Play Hope Davis looked
glamorous in a more simplified Peter Soronen dress (he dresses Michele Obama)
as she met up to chat with God of Carnage co-actors Jeff Daniels and
James Gandolfini.
Stage mates Janet McTeer and Harriet Walter (Mary Stuart)
walked arm in arm, a friendly pair of competitors, as nominees for Best Performance
by a Leading Actor in a Play. Young, talkative Mark Indelicato told me he was
the official Twitterer for the evening while Tovah Feldshuh (in strapless
Christian Lacroix) and currently appearing on Broadway in “Irena’s Vow” was off
to co-host the event at Duffy Square. Lin-Manuel Miranda of In The Heights
fame, when asked what he said when Sondheim called him to rewrite lyrics in
Spanish for West Side Story….”I said yes, yes!” Lovely Sutton
Foster, swathed in orange gown, said that by age 14 she knew that Broadway was
for her. Rock of Ages Constantine Maroulis confided that he feels
surreal and is looking forward to going on the road with the show.
Red Carpet photo ops gave sponsor Audemars Piguet (maker of
distinguished Swiss watches) the opportunity to showcase specially designed
clocks where many celebs posed. Is that Dolly Parton being ushered through?
Yes! Darn, she still has an 18” waist!
Before I knew it, everyone was safely tucked into their
seats inside Radio City as I made my way up to the 64th Floor Rainbow
Room’s Media Room to watch the Tony Awards simulcast. While Doogie Houser,
M.D. was hosting the Awards, I mean Neil Patrick Harris, and making with the funnies,
I was about to have some downtime, relaxation and food; the perfect solution
for tired feet and brain.
It didn’t take long, however, before the first winners were
announced and escorted to the Media Room for interviews and photos. The writing
was on the wall as Martin Koch arrived for Best Orchestrations followed by Paul
Arditti for Best Sound Design , both for “Billy Elliot.” Here comes Angela
Lansbury hugging her Tony for Best Featured Actress in a Play (Blithe Spirit)
while Roger Robinson took the Award for Best Featured Actor in a Play (Joe
Turner’s Come and Gone). Karen Olivio won Best Featured Actress in a
Musical for West Side Story saying she feels transported when she
performs finding it very liberating to sing lyrics in Spanish, while acknowledging
that Arthur Laurents gives notes in the best way he can to get what he needs
and doesn’t coddle his performers. Her influence: Rita Moreno.
Leading Actor in a Play went to Geoffrey Rush who said he
was thrilled to be performing in such an obscure Ionesco play; “It’s like
eating spinach.” He’d love to come back to Broadway if the right role comes
along. Harvey Firestein was already announcing Best Revival of a Play to The
Norman Conquests and soon the entire cast and creative team were busily answering
questions in the Media Room. They are a lively bunch!
Gregory Jbara, Best Featured Actor in a Musical, (Billy
Elliot) says he wouldn’t be here if it wasn’t for the sacrifices his wife
made stating he was a bit intimidated going into rehearsals, finding it hard
maintaining the accent, and stating that it’s like ‘electricity inside me….I’m
free, I’m free!”
Special Lifetime Achievement in the Theatre Award went to
composer Jerry Herman who is now 77 years young and responsible for Hello
Dolly!, Mame and La Cage aux Folles. Jerry said he was born right
near Radio City and he’s here because his Mother and Frank Loesser believed he
had the talent to make it big. What does he look forward to now? Enjoying
my houses in Palm Springs and Beverly Hills!
Best Revival of a Musical went to Hair, along with
Best Direction to Diane Paulus who said she worked closely with Jim Rado on
this revival and that he did write some new lines about the draft card. She
said the musical speaks to all generations; it’s about the rebirth of idealism.
Best Direction of a Play went to Matthew Warchus for God
of Carnage. He was also up for the same award for The Norman Conquests.
Pretty good odds.
The three young “Billy Elliots” won Best Performance by a
Leading Actor in a Musical. David Alvarez, Trent Kowalik and Kirl Kulish were
all adorable and somewhat tongue-tied trying to answer questions saying it’s
like a dream. But they all had some advice: to all the kids out there who
want to dance. . .never give up! No surprise that the announcement soon came
that Billy Elliot had just won the Tony for Best Musical, making a
total of ten Tonys!
Marcia Gay Harden took home her Tony as Leading Actor in a
Play for God of Carnage looking stunning in a long green gown.
Best Actress in a Musical was given to Alice Ripley in Next
To Normal. Ms. Ripley was explicit in saying that she channels her
character Diana everyday and is happy she has a patient husband. It
takes a lot of energy to stay focused and deliver her on stage. How did she
feel winning the Tony? I feel complete; it feels natural and makes sense I
have this Award. It’s other-worldly and a dream come true!
Before I could finish taking notes, I looked up and there
was Elton John eager to speak to everyone. He was a little worried opening Billy
Elliot in these tough times and admitted he’d never been to the Tonys
before but found it more enjoyable than the Oscars because you’re being
entertained from start to finish. Do you feel the need to control the
performance of your music? Having done four musicals Elton remarked, you
have to check your ego at the door and be part of a team. No immediate
stage plans at the moment but he is working on a Disney film.
Lest I forget, Liza won Best Special Theatrical Event for Liza’s
at the Palace. And the audience cheered and cheered both at Radio City and
in the Media Room.
Other awards presented included: Regional Theatre Award to
Signature Theatre in Arlington, Va.; a first time Isabelle Stevenson Award
presented to Phyllis Newman and a Tony Honor for Excellence in the Theatre to
Shirley Herz.
The evening was now complete or almost as Neil Patrick
Harris sang the 11:00 o’clock song, a parodied “Tonight” as the credits rolled,
featuring lyrics such as “this show could not be gayer if Liza was named Mayor
and Elton John took flight. . .” Oh well, it’s the Tonys. See you next year!
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Alice Ripley - 'Next to Normal'
Elton John
Janet McTeer & Harriet Walter - 'Mary Stuart'
Tovah Feldshuh
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Lin Manuel Miranda
Hope Davis
Jerry Herman
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Cabaret and Other Wanderings with Sandi Durell
"SUNDAY IN NEW YORK: MEL TORME IN WORDS AND MUSIC"
Lyrics & Lyricists at the 92nd Street Y
Reviewed by: Sandi Durell
June 6, 2009
Billy Stritch, consummate jazz pianist/singer, served as Artistic Director and co-scriptwriter with Mark Waldrop on this comprehensive and insightful program into the life, words and music of Mel Torme. Torme started singing with the radio at the age of one. By age 4, he was standing on a chair performing at the Black Hawk Restaurant in Chicago earning him a 5 month gig at $15 per show. He made his film debut at 17 in Higher and Higher which also debuted Frank Sinatra. For those who remember, Torme was part of a vocal group known as The Mel-Tones in the late 30’s and 40’s, with a sleek harmonic sound that later influenced Manhattan Transfer.
Stritch pulled together some of the finest singing talent to tributize Torme, a prolific writer of music and lyrics. “County Fair” (1948 with Robert Wells), sung by Stritch, is an entire production consisting of great rhythm changes and lyrics. The beautiful, willowy LaTanya Hall spiced up Peggy Lee/Duke Ellington’s “I’m Gonna Go Fishin’ and resonated sultry tones on Hart/Rodgers “Blue Moon.” Porter’s “What Is This Thing Called Love” was a four part masterpiece of harmonies and scat featuring LaTanya, Hilary Cole, Johnny Rodgers & Stritch.
Johnny Rodgers regressed back to childhood with Oscar Brown,Jr./Bobby Timmons “Dat Dere.” Rodgers’ honeyed crooner tones on “The Best Things in Life Are Free” are reminiscent of The Velvet Fog himself. A multi-talent, Rodgers was at the piano while Stritch, Hall & Cole performed a blow-the-roof off “Comin’ Home Baby” (Dorough/Tucker). Hilary Cole reached down deep with her lilting vocals on Torme favorite “The Folks Who Live on the Hill” (Hammerstein/Kern) and scatted effortlessly with Stritch on Berlin’s “Cheek to Cheek” perched atop the piano.
Completing the package was favorite Marilyn Maye who entices her audience with the simple truth – it’s all about the lyric! It doesn’t get any better than “Mountain Greenery” (Hart/Rodgers) duet with Stritch or Mercer lyric “When The World Was Young” providing Ms. Maye the opportunity to strut her stuff.
Torme the Stritch way was didactic, harmonically polished and a fitting end to this season’s Lyrics & Lyricists series. Completing the package were David Finck, bass and Mark McLean, drums.
Photo Credit: Richard Termine
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Cabaret and Other Wanderings with Sandi Durell
MICHELLE COLLIER
“A Tribute to The Hollywood Blondes”
Metropolitan Room – New York City
Reviewed by: Sandi Durell
May 23, 2009
 “I Want to Go to Hollywood” – well doesn’t everyone? But if Michelle Collier, blond and looking very 40’s in a tight fitting sexy gown, should get there. . . she’d fit right in! Occasionally performers choose a genre of song and style that also fits them physically and vocally. This is one of those times. In a tribute to film entertainment featuring the Hollywood blondes, Collier provided a plethora of research information (perhaps more than needed) about each and every one of her chosen celebrity bombshells.
More importantly, Collier is an exuberant entertainer with a big voice and belt and a sparkle in her eyes who also fills in the gaps with dance breaks. From the energetic and frenetic Betty Hutton’s “Arthur Murray Taught Me Dancing in a Hurry” (Mercer/Schertzinger) to the staid, sweet Jane Powell’s “Too Late Now” (Royal Wedding), where Collier produced a simpler inner passion, it appears that blondes do have more fun!
Sexy and sultry Marilyn Monroe was memorialized as Collier, perched atop the piano, emoted the sad “Help Me File My Claim” from River Of No Return. It was non-stop blond on blond, from Dolores Gray and Doris Day to Mitzi Gaynor and Shirley Jones. The piece de resistance of hilarity was Collier’s tribute to comedic Madeline Kahn playing Lili Von Shtupp in Blazing Saddles, as she rolled around on the piano crying (with accent) “I’m tired, sick and tired of love…everything below the waist is kaput!”
Collier appears to be more at home vocally in country-western genres such as Olivia Newton John’s “Hopelessly Devoted to You” and Meryl Streep’s “I’m Checking Out of This Heartbreak Hotel” (Postcards From The Edge). Although Collier can become a bit shrill on her high belts, she has a good solid range that enables her to sing the wide variety of styles of these Hollywood Blondes. She was ably accompanied by veteran Musical Director Rick Jensen, with Matt Wigton on bass and Fred Kennedy on drums. Celebs in the audience included: Marilyn Maye and Julie Wilson.
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Cabaret and Other Wanderings with Sandi Durell
“DON’T LEAVE IT ALL TO YOUR CHILDREN!”
Actor’s Temple – New York City
Reviewed by: Sandi Durell
May 20, 2009
 Baby Boomers unite! You’re in good company coming of age with The Beatles, Sly Stallone, Sally Field, Michael Douglas, Ann Margaret and Dolly Parton. If you can also relate to Henny Youngman type jokes like getting up ten times a night to pee, sexual parts that no longer work, you might have a chuckle here and there. The thing is that this musical revue is really geared to Seniors who are beyond the Boomer years.
“Don’t Leave It All To Your Children” is a compilation of songs (20 of them) and interspersed skits written and directed by Saul Ilson, a 76 year old who happens to be an Emmy Award comedy writer for 40+ years, cautioning his Adults Emeritus that any similarity between what you see on stage and your lives is purely intentional! Much of the song essence and patter are cliché. However, the audience of mostly silver haired veterans can’t help but relate. Yes, retirement can be more than acceptable if one considers the alternative, which is the on-going mantra throughout the 90 minute perspective on aging.
Casting is right on with veteran show biz performers Barbara Minkus (Picon Pie), Marcia Rodd (The Last of the Red Hot Lovers), Ronnie Schell (Gomer Pyle) and Steve Rossi (half of the famous comedy team of Allen and Rossi, who also recorded the hit record “More.”). The ladies look fit and lovely in the wardrobe outfits selected by Thom Carlsen and are vocally astute as each shines; Barbara Minkus on “A Singles Cruise” as she fights off the other females trying to steal her guy who turns out to be gay; Marcia Rodd in her rah rah inspirational message songs “March in the Parade” and “Age Is Not A Factor” - age is just a number and my number is unlisted…stop counting and go girl go! Rossi has a difficult time trying to keep from cracking up and does a fine impression showing off commanding vocals on “Ed Sullivan” (whose show him and partner Allen appeared 47 times). His shining number “My Grandchildren and Me” is a warm and fuzzy reminder of entitlement to spoil one’s grandchildren, giving lots of nachas to many in the audience.
Although the skits and songs all present the aging message loud and clear, there’s a spark that is missing. Is it that there’s really nothing new to say?
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Cabaret and Other Wanderings with Sandi Durell
LYNNE HALLIDAY
“Let Yourself Go”
Laurie Beechman Theatre – New York City
Reviewed by: Sandi Durell
May 20, 2009
 It was “My Night to Howl” (Mercer/Dolan) sang the perky, playful Lynne Halliday in her latest offering “Let Yourself Go.” Ow-ooooh !
Ms. Halliday is reminiscent of a throwback era in demeanor and look with long red hair and an air of lighthearted sophistication. She’s a little gal with a sweet soprano range that she shows off to advantage, and together with Musical Director/Arranger David Brunetti they have constructed a potpourri of the Great American Songbook relying upon varying personal impulses. . . good and bad, that may require some letting go. Let go of ideals, people and just have a good time quips the blue-eyed Halliday !
“Nice Little Girls”/”Control Yourself” (Allen/Langdon/Previn) were perfect combinations along with “Crazy”/”After Midnight” (Nelson/Hecht/Block), enhancing the storyline. Halliday understands these lyrics and presents them with humor and sincerity. She has a penchant for novelty and wittiness and does them well especially on Cahn/Raye/Lunceford/Chaplin’s “Rhythm in My Nursery Rhymes” - a trip to the farm where we encountered a lot of swingin’ cats! On the other hand, some better reflection would augment her take on Jones/Schmidt’s “The Room is Filled With You.”
Porter’s “Begin the Beguine” provided a truthful rendering with dynamic introspection. Ms. Halliday likes challenges as she takes on “Music of the Night.” “Everybody Says Don’t,” “I Don’t Want To Know” and encore “By Strauss” showed off her good diction and ability to handle lyrics and lists. To learn a little more about how to Let Yourself Go musically and other, try Lynne Halliday’s course! Frank Wagner is on bass.
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Cabaret and Other Wanderings with Sandi Durell
TYNE DALY: ‘SONGS’
Feinstein’s Loews Regency
Reviewed by: Sandi Durell
May 13, 2009
 If we think of Tyne Daly it’s usually in conjunction with her work on TV in “Cagney and Lacey” or her Tony Award winning performance as Rose on Broadway in “Gypsy.” Ms. Daly wouldn’t be on everyone’s list, however, as a cabaret performer. Well, surprise, surprise or actually no surprise, because Ms. Daly is an astute and intelligent artist with the ability and understanding of how to do it all - Movies, Television, Broadway and now Cabaret!
Tyne Daly is a great actress, a good singer with boundless humor and an innate ability to keep her audience laughing and wanting more. “Forget Crime Time”, says Ms. Daly, “I got a hold of John McDaniel. . . yes, these are my original legs,” showing off her high heeled red shoes. And we were off to a rip-roaring start with “Some People.” The title of her show belies the actual depth of a well thought out retrospective of her journey through life, love and disappointments. Her song selections are remarkably in keeping with everything she wanted to convey.
“Let’s talk about love; bellyache, heartache, headache, nervous blood on the loose” leading into a new song “Crayola” (Kristin Andreassen/Megan Downes) and the soft quiet arrangement of “Oh Boy” (West/Tilghman/Petty), followed by a raspy powerful “Real Emotional Girl” (Randy Newman). For all the Johns in her life, she offered up a rambunctious “Row, Row, Row” taking us back to 1912.
In the business of acting for 48 years, Ms. Daly reflected on women’s dreams and desires, of being a great French chanteuse segueing into a moving “Que Reste T’il (I Wish You Love)” (Chaulliac/Trenet) and “Not Exactly Paris” (Leonard/George).
There were many highlights but top of the list acknowledgements go to the introspective but sad “Killing Time” (Styne/Leigh), referred to in jewel terms as an emerald and preceded by a story relating a much earlier time period when Ms. Daly auditioned for Jule Styne. Piece de resistance of pure, honest, earthy delight was “Captain Hook’s Waltz” from Peter Pan (Styne, Comden/Green) and Weill/Brecht’s “Pirate Jenny.”
What is great cabaret? The freedom to feel at ease, to take charge with openness and honesty, to lay out emotions without regret and engage its onlookers completely. The cabaret world has a few performers who shine in such a way; - Barbara Cook, Marilyn Maye and the great Tyne Daly.
Ms. Daly’s carefully chosen band included:Tom Hubbard, bass; Ray Marchica, percussion; Rick Heckman, woodwinds; Peter Sachon, cello and her wonderful Musical Director/Pianist/Arranger John McDaniel. David Galligan directed.
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Cabaret and Other Wanderings with Sandi Durell
“DANNY and SYLVIA”: The Danny Kaye Musical
St. Luke’s Theatre – New York City
Reviewed by: Sandi Durell
May 10, 2009
 If one tried to write a show about the complete life of Danny Kaye, it would be exceedingly difficult to capture the multi-talents and comprehensive essence of this one-of-kind legend. Choosing a particular segment and some overview is the best anyone could hope for. So why not Kaye’s younger days as the ultimate tummler in his humble Pocono beginnings to his rise to worldwide fame and include Sylvia Fine –accompanist, composer, collaborator, eventual wife, manager and orchestrator of his entire career.
This isn’t a new show as it has had an earlier life in Washington, D.C., New Jersey and other parts several years back also starring Brian Childers as Kaye. The shows’s title has been slightly changed.
The highlights of this production relate to the comical, zany character Kaye portrayed in his movie heyday and the songs for which he is best known. Sylvia Fine wrote many of Kaye’s special material songs (‘Anatole of Paris,’ ‘The Malajusted Jester’ and ‘Melody in 4F’) which Childers performs with zest and an overabundance of flamboyance. Although Childers is one of the best Danny Kaye interpreters around as a singer-dancer, no one is or could come close to the real McCoy! The tongue-twister “Tchaikovsky” (Weill/Gershwin) embodying 58 Russian composers, sung in 38 seconds, is a race to the finish, leaving one breathless in its wake. Kimberly Faye Greenberg plays the sweet but controlling Sylvia.
Problems are inherent throughout as the show relies heavily upon original lyrics added by book writer Robert McElwaine (who was Kaye’s publicist way back when) to Bob Bain’s original music. What the audience really craves are all the songs that the great Danny Kaye made famous but are only sparsely interspersed throughout this two act production. “Minnie The Moocher” and “Ballin’ The Jack” are other examples of the celebrated Kaye songs.
For those of us who remember the legendary Danny Kaye, and the audience had a multitude of silver fox nostalgia seekers, “Danny and Sylvia” will surely fulfill some of that need.
Scenery is minimal except for a piano prop that Sylvia uses and a couple of telephones along with an occasional backdrop projection of Kaye’s caricature. Direction is by Pamela Hall with choreography by Gene Castle. The show has an open run at St. Luke’s Theater.
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Cabaret and Other Wanderings with Sandi Durell
LYNN DiMENNA
“MY HUCKLEBERRY FRIEND”
A Centennial Salute to Johnny Mercer
Reviewed by: Sandi Durell
May 2, 2009
 “We’re after the same rainbow’s end, waiting round the bend,
my Huckleberry Friend”- - Some of the best known and poetic lyrics are the clever
title to Lynn DiMenna’s tribute to prolific songwriter Johnny Mercer on this his
100th birthday year.
Charming and glamorous, Ms. DiMenna appeared one night only
at New York’s Metropolitan Room to pay homage to the man from Savannah, Ga. who
won 4 Academy Awards for Best Songs, including “Moon River,” Breakfast at
Tiffany’s (1961), with music by Henry Mancini. Johnny Mercer, who wrote
over 500 songs, is known for having had more collaborators than any other
American songwriter.
DiMenna did her homework, putting together a wide variety of
some of the grandest Mercer songs including “Dream Medley” (Dream, This Time
the Dream’s on Me, Hit The Road to Dreamland) and “Mercer Medley” (Too
Marvelous for Words, The Angels Sing, Moon River, Atchison Topeka & Santa
Fe, My Shining Hour and others). She is a sincere singer and her sweet
lilting vocals are easy on the ears especially on bossa beat “Out Of This World.”
DiMenna gave a gutsy rendition of “Blues in the Night” and on what she referred
to as The Revenge Song, “Goody Goody,” both strong suits to her
performance.
Many performer friends turned out in support of the popular
Ms. DiMenna including Julie Wilson, Andrea Marcovicci and Daryl Sherman. DiMenna
produced/hosted a popular radio show “Welcome To The Club” for ten years and
currently co-hosts with Jeffrey C. Williams a show called “At The Ritz” heard
on the net at www.attheritz.org. where
many of today’s cabaret, jazz and Broadway artists have been guests.
Debuting his talents as musical director and singer was
Steve Doyle, whom we see on stage more often strumming his bass, and who added
some extra zing on duet “Two Of A Kind.” On drums was David Meade and on bass
Chris Higgins. The show was directed by Linda Amiel Burns, founder of The
Singing Experience 32 years ago.
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Cabaret and Other Wanderings with Sandi Durell
JAN ABRAMS
“On My Way To You”
Metropolitan Room, New York City
Reviewed by: Sandi Durell
May 9, 2009
 Returning home for a short performance visit isn’t always easy unless you happen to be Jan Abrams who left many friends and family in New York City when she relocated to L.A. several years back. Growing up in the Bronx in a musical family (Dad and uncles were piano tuners and Uncle Vic Abrams, a songwriter); she developed a love for the art of singing by just listening. She soon found herself a devotee of cabaret and all the intimacy it could provide. Debuting at a little boite in Greenwich Village called Scene One, she went on to perform in several of New York’s clubs including Don’t Tell Mama, Eighty-Eights, The Grand Finale and Freddy’s Supper Club. (sad to say only one of these cabarets is still alive and well)
Abrams is like a glass of water overflowing. Her ebullient smile and joyfulness are constant as she puts forth each song simply and straightforward. She’s not about doing anything unusual or particularly special to a lyric other than to present it clearly and easily. One can’t help being seduced by her love of the art form.
The theme “On My Way To You” took her audience on a trip from her beginnings and desires to meeting and marrying her husband who lived in L.A. at the time she was still living in New York. You see all she really wanted was to sing and find the love of her life. Not so unusual! And it all happened because of Cousin Tina, the matchmaker, (sitting in the audience) who made Abrams dreams come true!
Songs that revealed her life story were carefully chosen, i.e., “Open A New Window” (Jerry Herman) to Uncle Vic Abrams songs (written with Irving Reid) “When You’re With The One You Love/The Melody Followed Me Home” to Barbara Shottenfeld’s clever list song “I Want You To Be.”
Abrams has a good technique of intertwining her storytelling in the middle of a song, particularly enhancing on “Theme from Arthur.” Her sincerity and elation were honest as she soared unrestrained with Amanda McBroom’s “Make Me A Kite” and John Bucchino’s “That Smile.” Yes, Jan Abrams is in love. . . with each note and lyric, with life, and especially her husband.
Aside from Cousin Tina and other family members, her audience included Julie Wilson, Baby Jane Dexter, Jason Graae, Eric Michael Gillett and ASCAP’s Michael Kerker.
Musical Direction was by John Randall with show direction by Bruce Kimmel, both from L.A.
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Cabaret and Other Wanderings with Sandi Durell
JON PETERSON
“SONG MAN DANCE MAN”
Triad Theater, New York City
Reviewed by: Sandi Durell
May 5, 2009
 A Triple Threat. . . yes, that’s Jon Peterson. He sings, he dances, he acts and for a bonus, also does comedy!
Growing up in merry England, Jon had a passion for Show Biz early on when he saw Gene Kelly kiss Judy Garland and decided he wanted to be just like Kelly. Accommodating parents gave him dance lessons and by age eleven he was off to the Royal Ballet School. His professional career in England is notable and here in the US, he landed the role of ‘Emcee’ in the Broadway revival Cabaret and a Drama Desk Nomination for his role as ‘George M’ in Off Broadway’s George M. Cohan Tonight!
Jon Peterson is a remnant of the vaudeville era and with musical director Michael Lavine, has taken all his talents and skills to create “Song Man Dance Man,” a one man show about the one man shows! This musical revue or tour de force is a tribute to all the great singer-dancers Jon admires and who inspired him. The show is filled with some of the best tap dancing one could hope to see, along with solid lyrical tenor vocals. It’s also filled with lots of cornball jokes and morsels of biographical this and that as Peterson unfolds stories about George M. Cohan, Fred Astaire, Gene Kelly, Bobby Darin and Anthony Newley as he pays homage to these great men.
Peterson is almost exhausting to watch as he moves swiftly and efficiently from one to another, showering his audience with expert dance steps. He’s just an amazing old-fashioned hoofer! His Gene Kelly segment “For Me and My Gal/I Got Rhythm” and “Singin’ in the Rain” are overwhelmingly good. “Lazy River,” one of the Bobby Darin songs is a strong suit.
A quick trip behind the curtain and Peterson was back on stage in the basics of a clown costume. While he regaled his audience with tales of Fred Astaire he completed his outfit and makeup segueing into “I Wanna Be A Dancin’ Man” followed by the uproarious funny “Be A Clown,” accompanied with some good jokes.
Although there were additional songs and dance after, this reviewer strongly felt that “Be A Clown” would have made a great closing number and just perfect time wise.
Jon Peterson is an incredibly talented showman and this vehicle should catapult his career far and wide.
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Cabaret and Other Wanderings with Sandi Durell
CHARLES AZNAVOUR
En liberte
City Center
Reviewed by: Sandi Durell
April 29, 2009
 Charles Aznavour is an international legend and a life force. The most famous French singer that has ever lived, he invented the French chanson and maintains an international cult following rivaled only by the late Charlie Chaplin In 1998 he was voted ‘Entertainer of the Century’ by CNN and users of Time Online worldwide, edging out Elvis and Bob Dylan. In the throes of his global Farewell Tour which began in 2006, he was treated to thunderous applause and cheers by an enthusiastic audience that filled almost the entire City Center theater.
Born in Paris, the son of Armenian immigrant parents, his career began as a child. He is now 84 years young and this short man with the gravely low notes and profoundly clear and reaching tenor upper range, can still mesmerize over a thousand people easily. Backed by a 10 piece band and 2 back up singers, he announced he would be singing only in French, to which many audience members applauded. His patter and song set-ups, however, were in English. This reviewer was a bit disappointed having studied Spanish back in school and having little knowledge of the French language. However, it was evident that language could never be a barrier as the deep emotional soul of this man is ever present. “Je T’Aime ’possessed an urgency and “Je Voyage” talked about the fading of time and the past.
Aznavour sings mostly of love. Noting there are many Egyptian love songs, but not many songs about the kinds of love making that exist, he gave very specific examples that led into an erotic middle-eastern musical beat “Une Vie D’Amour. “ The only missing element here was the belly dancer!
Dubbed ‘The Frank Sinatra of France’, Aznavour has written over 800 songs and recorded more than 1000 in French, English, German and Spanish. He has been in the international limelight as an actor, composer, arranger, writer and public activist.
Telling short tales preceding many of his songs, the 1 hour 45 minutes he was on stage flew by as he moved efficiently from one song to another.
An especially poetic moment occurred in “Non, Je N’Ai Rien Oublie” as he spoke of the memories of lost youth. His most popular song in America “Yesterday When I Was Young” produced many oohs and ahhs as it flowed into the sounds of “Dance In The Old Fashioned Way” as Aznavour danced effortlessly across the stage wrapping his arms around himself as if he were holding the woman of his dreams.
Charles Aznavour has and always will be a charmer. The theme now is more specific – it is ‘the autumn of my years.’
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Cabaret and Other Wanderings with Sandi Durell
LOLI MARQUEZ-STERLING
'SHAKEN NOT STIRRED'
Metropolitan Room, New York City
Reviewed by: Sandi Durell
April 19, 2009
 There’s a hot tamale named Loli Marquez-Sterling plus her 9 musicians who took over the Metropolitan Room, held a BIG cocktail party that stirred and shook the room for an hour. Loli’s Cuban roots serve her well to reveal the passion that bubbles up at every moment of her performance. She is always in control of herself, her musicians and a pro at every turn.
The theme refers to her long history and fondness for cocktails. Mama loved daiquiris chilled, shaken and stirred! Loli grew up living in New Hampshire with her parents who fled Cuba when the revolution ensued. She is a full length feature of information regarding her religious preferences, her divorce, lovers, work on stage at the Metropolitan Opera pushing a donkey cart around and carrying a spear for 12 years, then meeting and marrying Dwayne Croft, well known baritone, whom she refers to as her ‘famous, bigger than life, singer.’
The room was crowded and already on fire at the opening with Latin rhythm “Rie Llora” (Osorio/George). After sharing her sad stories of disappointing affairs, it was time to “Put ‘Em In A Box” (Sammy Cahn) and rock the room with “Alcohol” (Steven Paige). Loli has an easy, natural way of setting up her songs so that they flow out of ordinary chatter. She’s witty, filled with fun and could teach the Eveready bunny a few tricks.
Taking Craig Carnelia’s “Just A Housewife” and fitting it with parodied lyrics “Just a Super” (referring to her 12 years at the Met) personalized the significance while “Dwaynie” (Nellie McKay) expressed her feelings for new hubby. The drinking message continued throughout with Chris Dumont’s rock song “Incredibly Drunk On Whiskey.” Kristy MacColl’s “In These Shoes” was treated to a Spanish/English interpretation that served Loli well, especially when she poured champagne into a gold shoe and offered it up to various people in the audience. She said she had to get good champagne but it was OK to buy Conway shoes for $9.99!
Getting a little serious, she spoke of Fidel, the revolution and how he hi-jacked the people 50 years ago leading into “Yo Vivire” better known as “I Will Survive” (Gloria Gaynor), to a fast mambo beat, percussion and drums ablaze. “Carnaval” (Victor Daniel) encore left everyone cheering and wishing for more! Loli Marquez-Sterling surely requires a larger venue and a big stage. Perhaps next stop. . . Las Vegas!
Her ensemble included: Musical Director/Accompanist/Arranger - Oriente Lopez; Guitar - Richard Padron; Bass - Itaiguara Brandao; Trumpet – Albert Luesink; Sax/Flute – Oscar Feldman; Percussion – Vicente Sanchez; Drums - Richie Gonzalez; Singers: Ariache Trujillo & Luis Villabon. The show was ably directed by MAC Award Winner Linda Amiel Burns.
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Cabaret and Other Wanderings with Sandi Durell
BARBARA COOK
“Here’s To Life”
Feinstein’s at Loews Regency, New York City
April 14 thru May 2, 2009
Reviewed by: Sandi Durell
April 14, 2009
 Cook is cookin’! Barbara is back at Feinstein’s after an 8 year hiatus with her new show “Here’s To Life” and she’s one of the few who have earned the right to the title and the song. For an octogenarian, her vocal pipes are as fluid and filled with lilting colorations as ever, albeit with some lowering of keys which fit to a “ T.”
The message is clear and simple. Keep doing what you love because it will make you happy and it came across from the opening swing tune “I Want To Be Happy” (Youmans/Caesar) and “Give Me The Simple Life” (Bloom/Ruby). “It Was Written in the Stars” (Arlen/Robins) was something Ms. Cook always wanted to sing as evidenced by the bluesy plaintive style that seemed so enriching.
Her love affair with Stephen Sondheim’s work was dramatically and tenderly reflected in “One More Kiss/Goodbye For Now,” “No One Is Alone” and the ever reflective “Send In The Clowns” to which she brought new meaning. It elicited a comment about the fact that although she doesn’t know much about the immigration problem, ‘if they write songs like these, we should let ‘em in!’ Although she admittedly doesn’t sing much Cole Porter, she heard an American Idol winner sing “I’ve Got You Under My Skin” and with Musical Director Lee Musiker’s sultry flowing arrangement, there was a special urgency added.
Novelty tunes, “You’re A Builder Upper” (Arlen/Gershwin/Harburg, 1934, sung by Ethel Merman) and a swingin’ “Buds Won’t Bud” (Arlen/Harburg) along with Johnny Marks hysterical “Chicken Today and Feathers Tomorrow” was the perfect combination of humor.
Cook, a Georgia peach, came to New York in 1948 where she worked in a government job as chief file clerk. It was soon evident she had no propensity in that arena and instead auditioned and got her first singing gig at the Blue Angel. A friend took her to hear Mabel Mercer where she realized she was listening to greatness. Mabel was Cook’s idol and reverence couldn’t have been any sweeter than when she sang Mercer favorite “Goodbye John” (Alec Wilder), bringing tears to herself and many in the audience.
Barbara Cook is a great singer paying attention to the most essential component of a song: the lyric. Yes, it’s all about the lyric and no one does it better!
Band members included: Peter Donovan, bass, James Saporito, percussion, Lawrence Feldman, woodwinds.
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Cabaret and Other Wanderings with Sandi Durell
REASONS TO BE PRETTY
Lyceum Theatre, New York City
Reviewed by: Sandi Durell
April 8, 2009
 It is Neil LaBute’s calling to shock, to cause discomfort and engage every neuron in our brains. This is due to the degree of honesty he brings to his writing and to his characters and continues as such in “Reasons to Be Pretty,” as the play makes its way from off – Broadway to Broadway. The opening scene is chilling as Greg, not a bad kinda guy, and Steph, his hairdresser live-in girlfriend, tear each other apart verbally, she using every profanity imaginable (and some that aren’t), as they viciously draw blood, figuratively, because she heard from her friend Carly (Piper Perabo) that Greg described her face as “regular.”
The crux of it all is how damaged our society is with its obsession toward beauty.
In the setting of a blue collar environment, Greg works as a laborer loading boxes with his friend Kent (Steven Pasquale), a womanizer, who is married to Steph’s friend Carly a security guard at that same factory. Greg’s angst continues as he beseeches Steph, at every opportunity, to forgive him and come back. He just wants to feel her back against him in bed and feel her heart beat, to which she says: ‘so you don’t have to see my face!’
There are no stimulating conversations, but everyday drudgery giving Greg a reason to become somewhat introspective as his 4 year relationship with Steph ends and he begins to listen with other ears and from books he starts to read at work (Poe, Hawthorne or Irving).
Kent, whose wife Carly is now pregnant, is having an affair with a ‘hot chick’ who works upstairs and whom we never see, and engages Greg to keep quiet about it and cover for him. As Greg begins to perceive Kent as nothing more than an immature boy and no longer wants to keep Kent’s secret, they come to bloody blows. With Greg’s awakening and assessment of his own feelings, he no longer seeks reunion with Steph even when she shows him her new engagement ring and makes a play to return to him in a sad final scene.
Performances are strong, especially the understated Sadowski who gathers compassion from the start. Ms. Ireland’s fury is potent but she elicits our sympathy. The play is directed by Terry Kinney (co-founder of Steppenwolf Theatre Company), sets by David Gallo.
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Cabaret and Other Wanderings with Sandi Durell
A CELEBRATION OF TALENT AND LIFE ON THE OCCASION OF SONGWRITER ERVIN DRAKE’S 90th BIRTHDAY!
by Sandi Durell
 The National Arts Club presented its Lifetime Achievement Award at a celebration dinner to one of America’s foremost songwriters, Ervin Drake (a member of the Songwriter’s Hall of Fame) on April 6, 2009. Don’t quite recall that name? How about “Good Morning Heartache,” “It Was A Very Good Year,” “I Believe” and “A Room Without Windows?”
The evening’s program was opened by surprise guest Broadway’s Tovah Feldshuh with some heartfelt words of praise, followed by Charles Grodin who shared his congratulatory message. Mr. Drake’s songs were presented by a plethora of talent.
Talented impersonator Richard Skipper opened the entertainment segment as Carol Channing with “Widow’s Weeds” as only he can. Ervin’s career began early when at age 12 he wrote his first tune “Now Honey,” unearthed and sung by Mark Nadler, in his inimitable style, (a surprise to Mr. Drake) prior to singing/playing “Just For Today” (Her First Roman). However, Ervin Drake’s real career began in his early 20’s when blockbuster novelty “Rickety Rickshaw Man” sold a million records.
The evening, ably arranged by NAC member and performer extraordinaire KT Sullivan, put her own brand of humor on “Tico, Tico” in an arrangement that might make that cuckoo blush. Crooner and former TV star John Gabriel added “Quando Quando, Quando” followed by politically correct Christine Lavin (with Tom Chapin) and an audience chorus for “I’m A Card Carrying Bleeding Heart Liberal.” Jazz vocalist
Allan Harris sang the Frank Sinatra hit “It Was A Very Good Year.”
Mr. Drake also wrote for Budd Shulberg’s Broadway musical “What Makes Sammy Run” (1964/1965) starring Robert Alda, Steve Lawrence and Sally Ann Howes and for “Her First Roman.” He had a long career as a TV writer and producer for over 700 primetime, star-studded network programs working with Yves Montand, Polly Bergen, Mel Brooks, Mike Nichols, Elaine May to name a few.
Cabaret favorite Sidney Myer stole the show with “I Want A Wabbit” while Her First Roman star Leslie Uggams presented the heart wrenching “Good Morning Heartache” that became Billie Holiday’s signature song. It was written at a time when the beautiful showgirl Edith Bein (now Mrs. Drake) and Ervin parted while he was in his 20’s. That’s a whole other story that is part of an article on Ervin Drake entitled “The Very Good Years, written by this writer for the June 2008 Cabaret Scenes Magazine. After former marriages, they happily reunited almost 35 years ago and are known as the Love Couple, seen together holding hands wherever they attend. Edith Drake is a slim, gorgeous 87 year old in net stockings and high heels. Ladies, we should all be that fortunate!
Eric Michael Gillett, award winning singer/director presented “A Room Without Windows” and the show’s spiritually uplifting closing song “I Believe” was sung by Valerie Lemon.
Oh, what a night to remember! We look forward to more songs from Ervin Drake who continues to write. Hopefully some additional songs will be added on the occasion of a 100th birthday celebration.
Musical Director for many of the singers was the talented Jon Weber with John Loehrke on bass. Special piano accompaniment was presented by Don Rebic. The special video presentation was arranged by Jane Klain of the Paley Center and put together by award-winning director/producer of “Broadway:The Golden Age,” Rick McKay.
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Cabaret and Other Wanderings with Sandi Durell
IRENA’S VOW
Reviewed by: Sandi Durell
March 30, 2009
 In today’s turbulent times, with agitators and enemies of the United States and Israel trying to deny the existence of the Holocaust, “Irena’s Vow” is more compelling than ever. It is the true story of Irena Gut Opdyke, a Polish Catholic who singularly saved 13 Jews during WWII. Irena is powerfully portrayed by Tony Nominee Tovah Feldshuh (Golda’s Balcony). Ms. Feldshuh, who promotes Judaism as a cause, is the perfect choice to enact Irena from age 19 thru her later years, as this important play moves from off-Broadway to its Broadway home at the Walter Kerr Theatre.
The likelihood of hiding 12 Jews + the addition of a newborn infant in the cellar of a Villa where German Major Officer Eduard Rugemer (Thomas Ryan) resides, almost sounds like a fairytale! Although the play, written by Dan Gordon, has many predictable moments, it is still a nail biter that raises boos and tears as the audience rides the waves of Nazi brutality, graphically explained by Sturmbannfuhrer Rokita (John Stanisci) throughout. As the story unfolds, Irena, also a captive of the Germans working in a munitions factory, is spared because of her capability to speak German. Having befriended the 12 Jews and hearing that they will be exterminated shortly, she figures out a way to hide them when she becomes housekeeper to the Major. For economical reasons, the 12 Jews are represented by three on stage – a married couple Ida (who becomes pregnant) and Lazar Hallar (Maja Wampuszyc and Gene Silvers) and the seamstress Fanka Silberman (Tracee Chimo).
While working for the Major, Irena prepares dinner parties for the SS Guard held at the Villa with the help of her charges in the cellar, allaying those terrifying moments of possible discovery with humorous lines such as when the Major says after one party “Irena, you’ve done the work of six people,” and she answers “More” or lines like “Abracadabra…the Jews are busier than Cinderella’s mice.” Tovah Feldshuh gives a heart-wrenching, honest performance that comes from a place deep within.
In real life, Irena married, came to the United States and lived in Southern California, never speaking of the horrors she endured until she received a call from someone as part of a survey on how many people doubted the Holocaust ever happened. This prompted her to tell her story, going from school to school so children would hear the truth and history would never be distorted. She passed away in 2003 and, today, her daughter, Jeannie Opdyke Smith, continues her mission.
The play is directed by Michael Parva, Artistic Producing Director of the Directors Company.
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Cabaret and Other Wanderings with Sandi Durell
MARIN MAZZIE & JASON DANIELEY
"OPPOSITE YOU"
Feinstein’s, Loew’s Regency, NYC
Reviewed by: Sandi Durell
March 26, 2009
 An evening of love songs by Broadway sweetheart couple Marin Mazzie and Jason Danieley is surely stirring to the ears and soul. When they began on opposite sides of the room, unplugged, with “Indian Love Call,” the sound was gorgeous and real. In an intimate room such as Feinstein’s with these strong voices, microphones really seemed unnecessary but were soon added. Although the couple are prone to ‘tongue in cheek’ humor throughout, the 17 song medley opening including “Anything You Can Do” thru “Oh, Happy We” became wearing and confusion began to set in for this reviewer. Musical director/arranger/pianist David Loud can be brilliant, but rethinking the length of this medley might be in keeping.
Although medleys were plentiful throughout the show, special moments were many. “Honeysuckle Rose” was only one of the many duets that were harmonically smooth. “Let’s Do It” (all 5 choruses) was given an extra kick with “Lately in the White House, the Obamas do it…” Marin’s Shirley Devore was poifectly adorable as she travelled the world to find the guy next door in “Ring Them Bells” while Jason did a splendid job ringing them. Harold Arlen Medley had a sweet kiss, kiss ending and counterpoint Berlin “Play A Simple Melody/Old Fashioned Wedding/You’re Just In Love” also served this ultra talented couple well.
More contemporary songs included Scott Burkell/Paul Loesel’s “Sorta Love Song,” while the piece de resistance was the Sondheim Suite, a vignette including “Happiness,” “Too Many Mornings” and “Move On” allowing Marin and Jason the opportunity to show off their fine acting skills.
With Lynn Ahrens in the audience, the title of the show and CD, “Opposite You,” garnered special meaning. Novelty is always fun and so was encore “Abba Dabba Honeymoon.” Mazzie and Danieley are ultimate professionals, polished, savy and honed to perfection. You couldn’t ask for more! Bill Ellison was on bass.
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Cabaret and Other Wanderings with Sandi Durell
SHPIEL! SHPIEL! SHPIEL!
The National Yiddish Theatre Folksbienne
Reviewed by: Sandi Durell
March 18, 2009
 The title in Yiddish means Play! Play! Play! with an addition that these are three comic one-act plays written by Tony and Oscar-nominated Murray Schisgal. The first Shpiel is “The Pushcart Peddlers” directed by Motl Didner, Associate Artistic Director of the Folksbiene Theater, and tells the story of a newly arrived immigrant, Shimmel (Michael L. Harris), to the gold paved streets of the lower Eastside who receives his first new world lesson from an old hand, Mr. Crapavarnishkes (whose new American name is Cornelius Hollingsworth), played by Stuart Marshall, who arrived a day earlier. Cornelius, selling bananas from his pushcart, tells Shimmel one doesn’t get a job but has to be in business for himself. A deal to sell Shimmel his pushcart and bananas is negotiated by Cornelius only to find that Cornelius comes back with his own pushcart of bananas saying he didn’t sell him the spot. What ensues is an on-going negotiation, a partnership, a love story between Shimmel (now known as Sam Stone) and Maggie (Dani Marcus) the flower girl who wants to be a Broadway star and gives an insane song-dance audition. Together with the men’s on-going illusions, there is cause for much laughter. Welcome to America!
“The Man Who Couldn’t Stop Crying,” directed by Gene Saks, is the story of a retired successful multi-camera store owner (I.W. ‘Itzy’ Firestone) who cries incessantly at just about every life situation. Although his wife (Suzanne Toren) loves him and they’ve had a wonderful life together, she’s ready to leave him because he’s too emotional and his crying is driving her crazy. She reminds him he cried seeing Jerry Lewis in “The Nutty Professor.” ‘See a psychiatrist’, says she, and when he admits he has seen several and promises to change, she counters with ‘It’s just as easy to laugh instead.’ Can this marriage be saved?
“74 Georgia Avenue” (directed by Bob Dishy) is the address at which Marty (Harry Peerce) grew up in Brooklyn. Having left his wife, he has a need to relive his past and finds Joseph (Tony Perry) a black man living in his old apartment. Soon realizing that they both knew many of the same people who once lived in the neighborhood and attended the local synagogue, including Marty’s family members, the past becomes very much alive as various people, now dead, live again when Joseph dons their clothing which he has kept hidden in the apartment. The play is performed both in English and Yiddish.
There are English and Russian supertitles overhead making it easy for anyone to enjoy these stories. Musical interludes are performed by Lisa Fishman singing and playing guitar. Shpiel! Shpiel! Shpiel! runs thru April 5th at the JCC on Amsterdam Avenue, NYC.
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Cabaret and Other Wanderings with Sandi Durell
SHEERA BEN-DAVID “LET ME SING and I’M HAPPY”
Oak Room at the Algonquin
Reviewed by: Sandi Durell
March 2009
 Wide-eyed and compelling describe former cantor Sheera Ben-David who, at the young age of 30 something, has made her third appearance at New York’s famous Oak Room at the Algonquin Hotel. There is nothing disingenuous in her presentation. She is an open book of feelings and emotion giving her audience truth at every turn. “How High The Moon/Zing a Little Zong/Let Me Sing and I’m Happy” – her three opening numbers, are direct, fun and filled with affection, each showing off varying nuances in a rich alto voice. With new fashionable arrangements by equally talented brother Adam Ben-David (conductor “Jersey Boys”), the addition of vocal harmonies heightened the attention.
Director, Eric Michael Gillett, one of today’s top director talents, brought specific attention to the juxta-positioning of many of the selections as he utilized a picture frame image to enclose “Ill Wind – Wild is the Wind – Song for Old Lovers – Ill Wind” among others.
Ben-David carried her theme forward with Charlie Chaplin’s “This is My Song” and “Smile,” presented with great tenderness and a modern accompaniment. Showing off a coy, mischievous side seemed au natural with novelty “Dig Dig Dig for Your Dinner” (Warren/Gordon) while Brel’s “Brussels” spun in double time as Adam Ben-David provided falsetto harmony. Carly Simon’s “Coming around Again” provided inkling into her abilities as a folk rock singer that wasn’t a far stretch looking at her long curly tresses falling carelessly.
Her patter is relaxed and mostly about family as she relates Mom and Dad meeting at Julliard while studying voice. Mom a Metropolitan Opera contralto for 24 years, Dad, Kerry, the first PhD. in voice at Julliard and brother Adam probably conceived in a music room. After a charming duet with Dad to John Denver’s “Perhaps Love,” she went on to “Thank You for the Music” and to John Bucchino’s (sitting ringside) “Grateful.”
About to become a new mother in June, we are more than convinced she is truly grateful! Her talented musicians included: Mat Fieldes, bass and Damien Bassman, drums. Audience celebrities on the particular evening I was present also included KT Sullivan and Donald Smith.
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Cabaret and Other Wanderings with Sandi Durell
CHERRY SMOKE
Kirk Theatre – New York, NY
Reviewed by: Sandi Durell
March 1, 2009
 “Cherry Smoke” is the winner of the 2006 Princess Grace Award in playwriting for James McManus and is running concurrently here in New York and Sydney, Australia at the Old Fitzroy Theatre. It is presented in New York by The Clockwork Theatre and directed by Jade King Carroll.
In a dismal setting of a small town outside Pittsburgh, post steel industry collapse, it is the story of poverty, anger and tragedy. Young lovers Cherry (Marianna McClellan) and Fish (Jay Rohloff) find each other in the grimness on the banks of a river when she is 10 and he 13. A run-a-way living on her own in a bus, she has learned more about life’s sadness, sex and violence than many twice her age. Uneducated, possessing an affinity for Jesus Christ, Cherry is the comfort and love that Fish, an angry, tortured, down and dirty street-type fighter, needs to survive in his tormented existence, as he is in and out of jail. It is only his relationship with Cherry that keeps him somewhat contained. Duffy (Doug Nyman) is the opposite of his older brother Fish, but eager to try to toughen up in matters physical and sexual, always aware that Fish is an “inactive volcano” exploding violently throughout. Duffy’s partner is Bug (Kate Rogal) whose main desire is to have babies but is infertile.
Cherry becomes pregnant, while Fish tries to reconcile his role as a father. His temper rises out of control while Duffy gains more confidence attempting to direct Fish’ boxing and day to day life.
The scenes are short and one frequently wishes they had a roadmap as flashbacks whisk the audience through earlier life sequences which are supposed to offer rhyme and reason to the present. Unfortunately, it becomes disruptive. The all too familiar clichés about the poor, uneducated and impoverished wring sympathy, but more than needed.
This is a strong piece with outstanding performances by the four actors and particularly by Jay Rohloff who would make anybody he meets run the other way. He is formidable in his terror. Marianna McClellan, possessing a beautiful smile, is the cherished character who tries to save Fish and herself. The conclusion is ultimate devastation.
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Cabaret and Other Wanderings with Sandi Durell
ANN HAMPTON CALLAWAY
A Musical Triumph at
Dizzy’s Club Coca Cola - Jazz at Lincoln Centre
February 26, 2009
Reviewed by: Sandi Durell
 Into her two week engagement, jazz artist Ann Hampton
Callaway was still packing the house at her ‘favorite jazz club in the
cosmos,’ in celebration of her latest CD, “At Last,” ably assisted by Ted Rosenthal on piano, Jay
Leonhart on bass and Victor Lewis on drums. Released from her usual duties at
the piano, she is free to fly in what she dubs ‘a collection of love songs
for adults.’ And what a take off!
Her silky vocal fluidity and control are a singer’s dream. “The
Best Is Yet to Come” (Coleman/Leigh) is a potent rendition while Jonathan Latoche’s
“Lazy Afternoon” proclaims an introspective intimacy as she ascends the musical
scales. If Hitchcock were writing a love song, says Ms. Callaway,
“Comes Love” (Tobias/Brown) would be it” - another forceful
interpretation. Michel Legrand’s (Bergmans/lyric) haunting “On My Way To You”
was meaningful and soul-fulfilling.
On this particular night, former Manhattan Transfer singer
Laurel Masse got to wing it with Ann as they scatted and duetted in the ‘key of
surprise’ to “I Can’t Give You Anything But Love.” Diva power!
In a more contemporary style was Stevie Nicks’ folk-rock
ballad “Landslide.”
Chick Corea/Al Jarreau’s “Spain” was presented at top speed
in a race to the finish that included vocal agility that few performers could display.
And, finally, the title song of the CD “At Last” was a slow swing sung full out
- no subtleties here. Probably the only negative is not hearing the usually
exquisite Ms. Callaway’s expertise on the ivories.
Closing the evening was an encore of improv as she took
words called out from the audience, snickers, plethora, mayonnaise and hope,
summoned the muse of ‘harmony, melody and words that rhyme and somehow
make sense’ and sandwiched them into a song.
Ann Hampton Callaway is a giving, affectionate performer
with a great sense of humor and a master class for every jazz artist.
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Cabaret and Other Wanderings with Sandi Durell
LANSKY
St. Luke’s Theatre, NYC
February 2009
Reviewed by: Sandi Durell
 Saint or Sinner, Mobster or nice little Jewish Man? Mike Burstyn’s portrayal of the notorious Lansky is a small window into the crime-ridden existence that is currently a one-man production at the St. Luke’s Theater on West 46th Street, off Broadway. It is inspired by Robert A. Rockaway’s book “But He Was Good To His Mother,” and adapted by Richard Krevolin and Joseph Bologna with Bologna directing.
The story takes place during the specific time period of the early 1970’s at a restaurant in Tel Aviv in a scenic design (Joseph Iacovelli) that is sparse but effective (a table & chair with ice bucket nearby – opposite, a serving cart with pastrami sandwich, which we don’t see until it’s offered to an audience member, and a telephone), as Lansky awaits that important phone call confirming Israeli citizenship where he prefers to be buried next to his “Zayda” (grandfather) - - on Mt. Olive (he’s already purchased two seemingly unavailable plots – but money wields power). The reality is that Israeli citizenship would allow him to escape potential prosecution in the States by the Feds and President Nixon. In between the phone calls from his attorney advising him of the progress (or lack of) in this direction, the story of Lansky’s life from boyhood in Poland to life on the streets of Delancy to his association with Benny (Bugsy) Siegel and later with Lucky Luciano give inklings into their activities from prohibition and bootlegging to more serious ventures in gambling investments and casinos in Vegas, Havana and Miami. All the while, Lansky (Burstyn) is continually talking about his favorite meal – a pastrami sandwich and a Dr. Brown’s Celery Soda claiming “I’m just a retired businessman . . . with a head for numbers.” His motto: never scrimp on bodyguards and lawyers.
Did he order Bugsy’s hit? We’ll never know. What we do know, however, is Lansky’s torment and rage against his papa who slaved 12 hours a day in a factory bringing home ‘bupkis’(nothing); a father who only wanted his son, Meyer, to walk the straight and narrow instead of making ‘dirty’ money and who, at their final meeting, disowns Lansky.
This emotional and highly charged confrontation is what gives Burstyn a chance at a highlight performance.
Enhancing this one-man show are the projection designs (Poland, Delancy Street tenements, prohibition) by Christopher Ash, helping to bring reality to the bare surroundings.
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Cabaret and Other Wanderings with Sandi Durell
TONY MARTIN
Feinstein’s Loews Regency
January 13-17, 2009
Reviewed by: Sandi Durell
 One of the only entertainers who has four ‘stars’ on Hollywood’s
‘Walk of Fame’ is Tony Martin. At 96 years of age, he is an icon in the movie,
TV, radio and recording industry. He has appeared in 20 films including Show
Boat, Til the Clouds Roll By, Hit the Deck and millions of people recall
his 1950’s TV variety series, “The Tony Martin Show.” After all, how many nanogenarians
are crooning love songs on the stage of Feinstein’s ?
Mr. Martin’s mid range timbre is still recognizable and if
you close your eyes you are transported back down memory lane on his perfectly
recollected lyrics “To Each His Own, “ “I Get Ideas,” “La Vie en Rose” and
“There’s No Tomorrow.” Trying to reach for higher notes, however, no longer
works.
Settled on a stool for the entire show, he embodies the
style of the great crooner as he sings with heart, soul and gestures recalling
the love of his life, wife of 60 years Cyd Charisse, who passed away last year.
It is her image he conjures for the sentiment on “The Very Thought of You,”
“Begin the Beguine,” “Unfortgettable” and theme song “I’ll See You In My Dreams.”
Mr. Martin relies on his Musical Director Dick Parent for
cues to both the patter he uses between songs as well as to several of the
songs themselves. When he hears a name: Russ Columbo, Edith Piaf, Bing Crosby or Nat King Cole, he
recalls the where and what comes next. This is the bitter-sweet of aging
giving pause to the realization that when one is fortunate enough to stay
healthy, the payoff is the continuation of pursuing a life-long love and love
songs!
Dick Parent was assisted by Jerry Bruno on bass and Bobby
Shankin on drums.
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Cabaret and Other Wanderings with Sandi Durell
JULIE HALSTON
"HOLIDAY MUFFULETTA"
Birdland Jazz Club, NYC
Reviewed by: Sandi Durell
January 5, 2009
 Muffuletta? I had to try and figure out why Julie
Halston called her show by this name. So here’s what a Muffuletta is. It’s a
sandwich originated in New Orleans in 1906 at the Central Grocery. For almost
100 years, they have served up the Muffuletta sandwich, which is right up next
to the Roast Beef Po-Boy as a signature sandwich. It consists of the round loaf
of crusty Italian bread, split and filled with layers of sliced Provolone cheese,
Genoa salami and Cappicola ham, topped with Olive Salad: a chopped mixture of
green, unstuffed olives, pimientos, celery, garlic, cocktail onions, capers,
oregano, parsley, olive oil, red-wine vinegar, salt.
Now that we’ve gotten this out of
the way and I’m still trying to figure it out, the closest I come is to the
fact that Julie’s show is comprised of a little bit of this, a little bit of
that and it all makes up one BIG FUNNY! Halston, as an actress, writer and
comedienne is at the top of her game because she’s one of the few comics who is
really funny, works clean, (no four letter words here) and uses her own life
experiences. It’s the best material!
Her latest Broadway run was in Hairspray,
other Broadway credits include Gypsy, The Women and The Man Who Came to Dinner.
She
is a founding member of Charles Busch’s legendary theatre company,
Theatre-in-Limbo and received a Drama Desk nomination for her performance in
Mr. Busch’s play Red Scare on Sunset. She co-starred with Mr. Busch in
many of his plays including Vampire Lesbians of Sodom, The Lady in
Question and You Should be So Lucky.
Starting with her defining moments
between the ages of 5 and 9 growing up in Commack, Long Island, with December 7th
being her birthday and learning it was also Pearl Harbor Day and the
start of WWII, she moves on to Egg hunts at her house on Easter Sundays with
her sisters finding most of the eggs as she sees what she thinks is the prize
winning egg in her father’s open bathrobe as he’s sitting on the couch,
legs splayed open; and her story of being invited by Liza to Streisand’s
“Farewell Tour” at the Garden (the 1st Farewell) and enlisting her
gay swat team to figure out what to wear.
A Julie Halston interpretation of
what it means to be an actress: “stick a wig on, say a line, gesture and get
off” which worked until she performed in Broadway musicals and had to sing and
dance at the same time and was told she also has to listen to the other actors.
“Really”, says Julie, “I never even looked at another actor, let alone listen!”
Reading from the newspaper gay wedding
announcements was just plain hysterical and all real life stories. Last, but
not least, was the “Dear Ann Landers” letter (you had to be there) and the
audience shouting out their comedy requests!
The filled-to-capacity room was
packed with fans and theater folk including Jesse Tyler Ferguson, Mary Louise
Wilson and Julie Wilson to name a few. One night only is surely insufficient
for this Muffuletta!
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Cabaret and Other Wanderings with Sandi Durell
STEVE ROSS
“I Remember Him Well”
The Songs of Alan Jay Lerner
The Algonquin – Oak Room
Reviewed by: Sandi Durell
January 7, 2009
 The words used to describe Steve Ross are plentiful and
accurate. . .debonair, sophisticated, smooth, masterful. Mr. Ross opened
the legendary Algonquin Hotel’s Oak Room in 1980 and 29 years later he is still
the erudite master of the Great American Songbook.
As the leading interpreter of the words and music of Noel
Coward and Cole Porter, he has happily turned his attention to JFK’s Harvard
classmate Alan Jay Lerner. (one of the Lerner Shop descendants) Working in New York as an advertising copywriter, Lerner met composer Frederick Loewe at the Lamb’s
Club and together they collaborated on some of the greatest musicals ever
written: Brigadoon, Paint Your Wagon, My Fair Lady (deemed ‘the perfect
musical’), Camelot and the film “Gigi.” Lerner found great
pleasure in the English language and in enhancing romantic themes. As Ross
notes, Lerner seemingly had an affinity for flora. . . trees, flowers,
hillsides, buds and accelerated plant growth! “I Never Met A Rose” (Little
Prince), “I Talk To The Trees” (Paint Your Wagon) and with Burton Lane, “Hurry, It’s Lovely Up Here” (On A Clear Day You Can See Forever)
all sung in Ross’ amusing and mellow conversational manner.
Unproduced, “My Man Godfrey” finally received its New York premier at the Oak Room with some witty tongue-in-cheek lyrical matrimonial
tidings “Try Love,” “I’ve Been Married” – I have tied the wedding knot until
the blood began to clot – and “Dancing My Blues Away.” Maybe someone will
actually produce it after hearing these songs!
Facing the terror of the blank page in trying to create a
title song, eight months elapsed as Lerner wrote 91 sets of lyrics while
working with Burton Lane and finally wrote “On A Clear Day You can See
Forever.”
Ross continues his musical charm, wit and embracing manner on
songs from “Gigi,” beautiful fantasy gems from “Brigadoon” (The Heather On
The Hill) and the perfection of “My Fair Lady” (written while Loewe was
living at the Algonquin). Songs of regret (with Burton Lane), “Too Late Now,”
“What Did I Have That I Don’t Have?” were introspective and touching,
especially “Come Back To Me.”
A time warp exists in this genre of the musical salon. As I
watched the reaction and faces of the audience, I saw the reality of a certain
age related population who continue as lovers of the Great American Songbook
and it became clearer and more urgent that evenings such as these are part of an
important and wonderful heritage that must forever carry on to future
generations.
Steve Ross continues these magnificent evenings throughout
the month of January.
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Cabaret and Other Wanderings with Sandi Durell
daryl glenn & jo lynn burks
play and sing
robert altman’s “ Nashville ”
By: Sandi Durell
December 20, 2008
 “Nashville” – the movie? Shades of The
Grand Ole Opry? What’s it doing in New York City and at the Metropolitan
Room? It’s actually been a while since Daryl Glenn and Jo Lynn Burks got
together to present their musical interpretation of Robert Altman’s 1975 movie
“Nashville.” To top it all off, “Nashville” has just won
the 2008 Nightlife Award for Best Cabaret Duo and Group.
Together with a five piece back-up band that aided and
abetted the former Miss Alabama and Miss Miami Jo Lynn Burks on piano (she is also
Musical Director and Arranger with lots of Broadway credits) and Daryl Glenn,
who cleverly conceived the show and is, in his own words, a native
Kentuckian doin’ his country thang, the movie lives musically featuring
famous Keith Carradine songs “It Don’t Worry Me,” “I’m Easy” and Ronnie
Blakely’s “Bluebird” and “Tapedeck in his Tractor.”
Nashville is a 1975 American film
drama, directed by Robert Altman,
depicting the country music and gospel music businesses in Nashville,
Tennessee and combines them with material on U.S.
presidential politics. The film weaves together
multiple storylines that eventually coalesce in the final half-hour in a
climactic sequence at the Parthenon
in Nashville. Among its many musical
sequences, the song "It Don't Worry Me" is the film's theme, heard
sporadically throughout and then performed at the climax. The film featured a
large ensemble cast including David Arkin, Barbara Baxley, Ned Beatty, Karen Black, Ronee Blakley, Keith Carradine, Geraldine Chaplin, Shelley Duvall, Scott Glenn, Jeff Goldblum, Barbara
Harris and many more.
The show is quite an
undertaking on the part of Daryl and Jo Lynn that rewards the creators and the
audience. Other reminiscences of the movie include “Memphis” and “Rolling Stone” (Karen Black) and “For The Sake of the Children”
(Richard Baskin) that pulls on the heart strings.
Between the songs were audience participation questions such
as “What put Barbara Jean in the hospital?” The answer: A fire baton twirling
incident! And there were prizes for the right answers. And what were the
prizes? GooGoo Cluster Candy Bars!
Surely a musical departure for the Metropolitan Room, it was
a treat that needs repetition, hopefully, sooner than later. The fabulous band
was comprised of Ivan Bodley, bass, Chris Delis, guitar, Dan Gross, drums,
Kenny Kosek, fiddle, John Widgren, pedal steel guitar. Back up vocals included
Tanya Holt and Bryan Dobson. The show is directed by Vince DeGeorge.
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Cabaret and Other Wanderings with Sandi Durell
MOTHER RUSSIA
Three Generations, One Struggle, One Story
A Musical by Andrew J. Wight & Winston Shaw
By Sandi Durell
On December 19, 2008, a snowy cold wintery evening, a
one-night concert presentation of the musical “Mother Russia” was performed at
Zankel Hall at Carnegie Hall in New York City. It was as if the Gods were in
compliance, ordering up weather to accessorize the theme of the evening.
Set during the turbulent times in Moscow of 1991, the story
is a love triangle between Steve (Kevin Vortmann), a young American reporter,
Tolya (Peter Samuel), a KGB colonel who hosts the Miss KGB contest, and Jenya
(Kate Shindle), a KGB operative planted at the Moscow TV Studio to monitor
Steve’s movements. Jenya and Steve meet and there is an underlying attraction
(“Could I Be Interested In You?”). Ludmilla (Evangelia Kingsley) trying to
resist the regime, is perfect as the grandmother to Jenya, lamenting “Only One
Life.”
The ‘opening demonstration’ is ably assisted by Janice
Martin on violin, as she weaves in and out of the masses, not only as a
creative addition, but easy on the eye in long tight red gown and flowing
golden hair. She is a brilliant musician.
There are beautiful costumed dancing girls in the Miss KGB
contest, a chorus of wonderful singers and harmonic splendor - all the ‘bells
and whistles’ in tow for a big Broadway show. However, the story line seemed
thin. However, in fairness, this was a concert adaptation, a highly abridged
version of the book not allowing for full development of the plot. Perhaps
there is more meat! One would think the music would be serious and heavy
but instead much of it is light rock and witty lyrics albeit sometimes
repetitious but nonetheless pleasing.
Other notable performances included Nat Chandler as Slava,
Todd Horman as Misha, Jane Brockman as Olga and Betsy DiLellio as
Luba. The creative team is top notch with Tim Janis, producing and Nick
Corley, as Director. Todd Sullivan’s orchestrations are ably enhanced by Lanny
Meyers and Phil Reno sharing piano intervals. The writers have plans to
workshop the musical out of town and then bring it into New York for a 2010
Broadway opening. www.motherrussiamusical.com
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Cabaret and Other Wanderings with Sandi Durell
LIZA’S AT THE PALACE”
Starring
LIZA MINNELLI
Reviewed by Sandi Durell
December 2008
 Watching a cult phenomenon such as Liza is mesmerizing and inspiring. No, she doesn’t have the remembered high kicks or high notes, but at age 62 she gives ‘em what she can and what they want! Often breathless and perspiring and in need of a few moments of recovery, it all doesn’t matter because Liza continues to be the sweetheart of live performance, the Queen of ‘Cabaret’; a munificent, unstoppable presence.
She’s a contradiction to an opening of “Teach Me Tonight,” for who could? Liza knows and understands every nuance of the how, what, where and when. Cleverly directed and choreographed by Ron Lewis, every strut, move, inflection and hand movement has something to say. Breathing hard after “If You hadn’t, But You Did” she affectionately says “I’m so glad you’re here.” Regaling the audience with stories of her childhood and entry into show business, she talks about the 70’s, replacing Gwen Verdon as Roxy Hart in ‘Cabaret’ for five weeks renewing the nostalgia with Kander & Ebb’s “Maybe This Time” and “Cabaret.”
“Palace Medley,” originally sung by mom, Judy Garland at the Palace, is given a new twist by David Zippel, John Kander and Billy Stritch. Right hand man Stritch, who has been with Liza for 17 years, plays her soul and secrets, she admits.
Act II was an ode to Godmother Kay Thompson whom she portrays as an extraordinary life force. Thompson was also the author of the “Eloise” books, vocal coach at MGM, a singer/dancer who took center stage in the 1957 movie “Funny Face” and songwriter of “Hello, Hello,” “Jubilee Time” and “I Love A Violin” all splendidly performed. Suffice it to say that the tribute to Ms. Thompson’s heyday at Ciro’s Nightclub on Sunset Blvd. is the highlight of the evening, as Ms. Minnelli and her super-slick quartet of modern jazz males deliver flawless singing and dancing production numbers together with cool vocal assist from Billy Stritch who is also tinkling the ivories. The high energy doesn’t stop there as Johnny Rodgers, Cortes Alexander, Jim Caruso, Tiger Martina and Liza continue non-stop with Gershwins’ “Clap Yo’ Hands’ at record speed. With slicked down hair, close harmonies and sharp choreographed moves, this quartet outdoes the Williams Brothers!
Yes, Ms. Minnelli’s vocal sh’s and raspy sounds are plentiful but it didn’t deter the audience from applauding wildly and giving standing ovations after just about every song. Liza is adored by her fans. The unending adulation that flows onto the stage is beyond love of celebrity. Liza channels her mother and, as such, is the only living connection to the powerful bond that was and continues to exist to Judy Garland.
Liza’s sequin costumes were vintage Halston and her legs…still look great!
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Cabaret and Other Wanderings with Sandi Durell
MOTHER RUSSIA
How a British Solicitor, with expertise in banking and finance,
and an American Diplomat wrote an epic musical!
Interview with Andrew J. Wight, Composer/Lyricist
December 14, 2008
By Sandi Durell
 In 1996 Andrew J. Wight was living and working in Moscow. A
successful internationally known British solicitor with expertise in banking
and finance specializing in aircraft finance and leasing, Andrew was selling a
bed! Yes, that’s right, a bed! The buyer, a piano player, noticing the piano
in Andrew’s apartment, forgot all about the bed. Instead, he invited Andrew to
play for his supper at a party in a 200 year old apartment where a 6 foot grand
piano stood in the center. It was at that party that Mr. Wight met Mr. Shaw
(Winston Shaw, book/lyricist), an American diplomat in Moscow. It didn’t take
long for them to realize they had a lot in common and it had nothing to do with
law and diplomacy. No, it was more soul fulfilling. Andrew is a composer-lyricist;
Winston writes stories and lyrics. When Andrew read a script entitled
“Tomorrowland,” he immediately wrote six songs in the blink of an eye. Now
that’s inspiration!
This is only the beginning of the birth of “Mother Russia” and
it is a rather unique story. The truth is that the show was mostly written via
email as Andrew and Winston found themselves in different parts of the world.
“Mother Russia” is the carryover from what began as “Tomorrowland.” A recording
of the show was made at the famous MosFilm Studio by the Bolshoi Theater Orchestra.
The composer/writing team continued their long distance
project, actually meeting in Prague, in person, in a little café where they spent
an entire day writing, eating pizza and drinking coca cola.
Andrew and Winston were together for only one day in the 1990’s
in preparation for a fully staged production in one of Moscow’s largest
theaters where it ran for three weeks, playing to audiences of 10,000, with a
56 piece orchestra. Matinees were performed in Russian and evenings in English.
It received outstanding rave reviews. They were sponsored by Pepsi and Sheraton
Hotels.
“Mother Russia” is a love triangle with a theme of standing
up for what one believes. It is set during the turbulent events in Moscow of
1991 that eventually resulted in the downfall of the Soviet Union. Andrew
equates its essence to songwriter Chris Rea’s statement: “You can spend a
whole lifetime trying to be exactly what’s expected of you, but you’ll never be
free.”Why Carnegie Hall? Andrew relates that top musicians say the music is
exceptional and ‘since today’s music is wallpaper,’ “Mother Russia’s”
American debut concert belongs at Carnegie Hall. He equates it to Rodgers
& Hammerstein: music you can hum and whistle! What are the expectations? Workshop
versions of “Mother Russia” in Philadelphia and Chicago with an anticipated
2010 Broadway opening. Andrew says there is good precedent for a lawyer writing a musical show. Gilbert of Gilbert & Sullivan was a solicitor and Hammerstein studied law.
This concert version includes graphic projections, an
all-star cast and two Musical Directors: Phil Reno Musical Director/Arranger
for Broadway’s Drowsy
Chaperone, The Producers, Thou Shalt Not, Cats, Dame Edna: The Royal Tour and Back
With a Vengeance and Lanny Meyers, Emmy winner, composer/orchestrator/arranger Another World, The Berenstein Bears-' Littlest
Leaguer, Easter Surprise, Valentine Special, Christmas Tree and Remember WENN and orchestrator on the 40th and 44th annual Tony awards.
Tim Janis is Arranger/Producer and well known composer, having sold over one million albums, produced
five National Public TV Specials, including “ An American Christmas Carol” with James Earl Jones and “Celebrate America” having worked with some of the top artists in the music and
entertainment business -- from Paul McCartney, Billy Joel, and Ray Charles, to
George Clooney. Janis creates what many in the media have called Music With a
Mission, music projects which aim to advance important causes through music.
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Cabaret and Other Wanderings with Sandi Durell
20TH ANNUAL GYPSY OF THE YEAR
Broadway Cares – New Amsterdam Theatre
December 9, 2008
Reviewed by Sandi Durell
An amazing total of over $3 million dollars was raised in
2008 for the 20th Annual “Gypsy of the Year” event by the 63
Broadway, Off-Broadway and National Touring Companies to benefit Broadway Cares/Equity
Fights AIDS. The total monies raised since 1989 is a staggering $35 million
dollars. The ever hilariously funny Seth Rudetsky hosted with special guests
Tyne Daly and Jonathan Hardary, the hosts of the first Gypsy of the Year
Competition that took place at the St. James Theatre on November 28, 1989.
The show’s opening number “The
Gypsy Robe” – featuring five of the legendary Gypsy Robes, was directed and
choreographed by Joshua Bergasse, created by musical director Ben Cohn and
lyricist Nathan Tysen, and featured 24 of Broadway’s gypsies as they parodied
“La Vie Boheme” from Rent and “Brand New Day” from The Wiz.
Examples of creative and clever were
the cast of Gypsy wondering what if Sarah Palin herself decided to
take over the role of Rose, while Grease featured Palin’s daughter,
Bristol, as the pregnant teen Rizzo singing ”There Are Worse Things I Could
Do.”
Ensemble members from The Lion
King continuing their Gypsy of the
Year tradition, presented a stunning dance piece entitled “Guess
Who’s Coming to Dinner” that featured six dancers performing breathtaking feats
around an oversized dinner table, ultimately winning them first place in the
competition. Equus offered star
Daniel Radcliffe performing an original song, written by Mr. Radcliffe, titled
“The Love That Dare Not Speak Its Neigh” that included the show’s “horses”
dancing and cavorting with their young star, garnering them first runner up
status. Rudetsky, Daly, and Hadary were joined by Harvey Fierstein (Hairspray),
John Lithgow (All My Sons) and Christine Baranski
(Boeing, Boeing) for the presentation of the
afternoon’s awards. Celebrity judges included: Elizabeth Ashley (Dividing
the Estate), Paige Davis (Boeing, Boeing) and her husband Patrick
Page (A Man For All Seasons), Howard McGillin (The Phantom of the
Opera), Kate Mulgrew (Equus), Peter Sarsgaard (The Seagull),
and BC/EFA major donors Dr. Harold Brody, Marion Duckworth Smith and Kendall D.
Ward.
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Cabaret and Other Wanderings with Sandi Durell
JEFF HARNAR / KLEA BLACKHURST / ANNA BERGMAN
"The 1959 Broadway Songbook"
59E59 Café
December 3 – 12, 2008
Reviewed by Sandi Durell
 In the days when musicals on Broadway were all originals, “The 1959 Broadway Songbook” cleverly reminds us that the Golden Age of Broadway was a time to savor! Did you know that in 1959 there were 21 musicals on Broadway and for $9.20 you could have a prime orchestra seat? Lest we forget, the shows included West Side Story, The Sound of Music, Flower Drum Song, Fiorello, Redhead, Goldilocks, Take me Along, Once Upon A Mattress, Bells Are Ringing, Gypsy and on and on. My how things have changed!
Leave it to Jeff Harnar, a baritone of note with a falsetto as sweet as sugar, to prepare an evening of nostalgia marking the celebrated year. It also celebrates the year of his birth giving it singular meaning. To complete the musical picture enter Klea Blackhurst, alto belter, known for her Merman style, and Anna Bergman, soprano chanteuse, at ease with an aria as much as with sexy insinuation, together with piano accompaniment and vocals by David Gaines. The cabaret style room at 59E59 sets the mood on a screen backdrop of old Playbill covers featuring the shows and stars of 1959 Broadway.
From “Tonight” and overture medley “Everything’s Coming Up Roses/Sound of Music/Take me Along/Together (Wherever We Go),” the harmonic blends are outstanding. With tidy, efficient patter there is an educational aspect as well, i.e. 1959 marked the year of Barbie doll, Etch-a-Sketch, hula hoop, 4 cents postage, Khrushchev’s visit to Disneyland and being denied access.
A salute to marriage brings Blackhurst and Bergman dueting on “If Momma Was Married” (Gypsy) and Harnar’s medley including “Get Me To The Church on Time/Don’t Marry Me/Ordinary Man” (My Fair Lady), with one line insertions from many other songs, pays homage to at least a dozen different songs. At theater ‘intermission’ you might hear a radio playing “Dream Lover” or “Gigi.” Keeping political perspectives in mind is the realization that nothing changes as Harnar and Gaines practice “Politics and Poker” with a “Little Tin Box” (Fiorello). Ms. Blackhurst keeps things brassy, broad and humorous with “Shy” from ‘Once Upon A Mattress’ as Ms. Bergman woos us with “Goodnight My Love” and “I Could Have Danced All Night.” The triple blend of voices on “Till There Was You,” “Love Look Away” and “Till Tomorrow” is more than harmonically pleasing.
The stars of 1959 musicals, such as Gwen Verdon, Chita Rivera, Carol Lawrence, Tom Bosley, Mary Martin, Carol Burnett, Theodore Bikel, Jackie Gleason, Ethel Merman and so many others were all on the Great White Way for the purchase of a $9.20 ticket! The nostalgia of this musical revue renews the spirit of the era that created some of the greatest music of all time. Alex Rybeck is responsible for the musical supervision and arrangements and Sara Louise Lazarus for the well paced direction.
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Cabaret and Other Wanderings with Sandi Durell
MICHAEL FEINSTEIN
“THE SINATRA HOLIDAY PROJECT”
Feinstein’s Loews Regency
December 2-30, 2008
Reviewed by: Sandi Durell
December 4, 2008
 Possessed with limitless energy and boyish good looks,
Michael Feinstein will soon approach his 25th professional debut
anniversary. This will also mark another Grammy nomination for his latest album
and show of the same name, “The Sinatra Project,” which debuted at Feinstein’s
in September. The update to that is the
inclusion of several of Sinatra’s favorite Christmas songs plus! The ‘plus’ is Latin instrumental “Brazil”
giving Feinstein the opportunity to remark ‘boy
are my hands tired!’
After a big blast opening “Luck Be A
Lady”/”All I Need Is The Girl,” Feinstein, feigning exhaustion, remarked ‘Thank you and goodnight!’ A little surprised at the fact that the
ballroom (where this show runs) wasn’t filled to capacity, Michael said he
didn’t understand it since 30 more people had paid reservations and didn’t show
up. But after some audience members yelled out ‘a lot of people are sick now’ it seemed to ease his concerns.
After all, Mr. Feinstein has become accustomed to overflowing crowds and
understandably so!
With his 17 piece band of New York’s
finest musicians, he is at the top of his career. A clever and witty performer,
Feinstein made with the jokes at all the appropriate moments.
He regaled the audience with intimate stories of the Frank
and Barbara Sinatra private Christmas parties he played and how thrilling the
experience. “Have Yourself A Merry Little Christmas”
was a reinterpretation of the famous Sinatra rendition to what Michael deems
the “now” sound. “White Christmas,”
introduced by Bing Crosby and of which there are 142 million recordings, came
with a story about the rare soundtrack, in Michael’s possession, of the film
“Battle Ground” (1947) on which one can hear an early Sinatra vocal if you
listen really closely.
Most impressive is seeing Mr. Feinstein away from the piano
a great deal of the time, fronting this big band, and using his sweet falsetto
on song endings like “All The Way” and “Begin The
Beguine.” What I call that dreamy sound!
A bit of informative trivia: - Sinatra recorded 87 Sammy
Cahn songs. Cahn wrote specifically for
Sinatra i.e. “All My Tomorrows.” When
Sinatra was 54 years old he recorded “For Once In My
Life” and after that always included this song for the remainder of his career. This was also Michael’s BIG ending to the
show which was a knock-your-socks off performance necessitating a second BIG
ending.
Sitting behind me was legend Margaret Whiting with comedienne/singer
Christine Pedi.
The band was comprised of Rosie Clooney’s piano conductor, Musical
Director/Pianist John Oddo, along with the best of the best musicians (too many
to name), including Bucky Pizzarelli on guitar.
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Cabaret and Other Wanderings with Sandi Durell
THE NATIONAL YIDDISH THEATRE
FOLKSBIENE
"GIMPEL TAM"
JCC – Nov. 23 – Dec. 28, 2008
Reviewed by Sandi Durell
 Reputed to be New York’s oldest theater company, in English
or Yiddish, commercial or not, Folksbiene is marking its 94th
consecutive season with the new Yiddish musical based on the Isaac Bashevis
Singer classic short story “Gimpel the Fool” herein called “Gimpel Tam.”
It is a morally rich story of the character Gimpel,
otherwise referred to as a schlemiel, an unlucky man followed through life by
misfortune after misfortune. Gimpel (played by Adam Shapiro making his
Folksbiene debut) is taunted by his fellow townspeople in a mythical Eastern
European shtetl called Frampol. When his grandfather dies, he must find
a way to earn a living and becomes a baker. The town’s matchmaker soon comes to
him saying he must now have a wife and children and finds him the town slut. Child
after child is born, always with Elke’s (the wife, played by Daniella Rabbani)
excuses making Gimpel believe the children are his while the town continues its
deceitful ways toward Gimpel. When given an opportunity for revenge, Gimpel’s
faith instructs him to accept things as they are. It is only when Elke dies and
he leaves Frampol and wanders the world returning at an old age that he
sees the truth. The folktale is a haunting relevance to modern times.
Singer, a Nobel Prize winner, published “Gimpel Tam” as a
short story in the Yiddish Forward in New York in 1945. Saul Bellow had
translated it into English in 1953 and it has been restored to its original
language. This musical rendition was written and directed by Moshe Yassur, a New
York and Bucharest based director/writer. Music is by Radu Captari with
lyrics by Moshe Yassur. The cast of thirteen is a potpourri of mostly
experienced Yiddish Theater talent doing justice in song and dance to this
parable.
A four piece Klezmer Band is comprised of Joshua Camp,
Louisa Strouse Boiman, Dmitri Slepovitch and Taylor Bergren-Chrisman. Scenic
design (Roger Hanna) is minimal consisting of two wooden risers (on which the
scenes take place signifying a house or bake shop), some stools and objects as
well as long tree trunks against gravestones, setting the tone of a small
Eastern European shetetl.
Don’t be concerned if you don’t speak or understand Yiddish,
as the English translation is flashed above the stage on a scenic overhead
banner. You will enjoy original songs like “Keyner Hot Nisht Ale Mayles” (No
One Has All Virtues) and “Az Der Rambam Zogt S’iz Kosher” (If The Rambam Says
It’s Kosher) which are witty and clever. It’s really a gantseh megillah that
makes you laugh a bisel and cry a bisel!
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Cabaret and Other Wanderings with Sandi Durell
CHITA RIVERA
Feinstein’s at Loews Regency
November 18-29, 2008
Reviewed by Sandi Durell
Can James Taylor’s “Secret O’ Life” simply be the
electrifying and glamorous Chita Rivera at age 75? This bundle of energy is a
life force to be reckoned with on all levels.
She doesn’t stop moving for an instant albeit announcing
she’s not going to dance! She just can’t help herself. Anything musical or
dramatic commands movement. She was a proud peacock in red flutter dress and
matching high heels declaring at the opening “Let Me Sing and I’m Happy”
(Irving Berlin).
Says Ms. Rivera, the only time she comes to the Eastside of
New York from the Westside, where she resides, is when she’s at Feinstein’s. There
was some attention paid to the transition of using a female musical director
instead of a guy and how sexy it is singing with a trio instead of a big
orchestra. Big band, trio, whatever. . .Chita Rivera could perform a capella on
a street corner and we’d be mesmerized! She’s joyous and her rhythm of life is
surely a powerful beat! She keeps in touch with every nerve ending and muscle
in her body at all times, evident on Latin rhythms like “Sweet Happy Life” and
“Mas Que Nada.”
On the evening I attended, her explosive self was even more
engaged with John Kander sitting ringside as she introduced him and bowed in
reverence. She’s been a part of the Kander/Ebb songwriting life for so many years
with songs like “Chief Cook and Bottle Washer” (‘The Rink’); “Nowadays” (‘Chicago’)
and “Love and Love Alone” (‘The Visit’).
Jacques Brel’s “Carousel” came alive with movement, spinning
out of control with the madness of darkness. Other song highlights included “Camille,
Collette, Fifi” (‘Seventh Heaven’), a fun-loving rendition albeit the
show a flop; Cy Coleman/Dorothy Fields (‘Sweet Charity’) “Big
Spender/There’s Gotta Be Something Better Than This/Where Am I Going?” Of course,
Chita’s big break came in 1957 with her electric performance as Anita
in the Broadway premiere of “West Side Story” (the show soon to resurface on
the Broadway circuit) and hearing “A Boy Like That/America” was a rousing memory
of just how thrilling a performer she is.
A two time Tony Award winner, Ms. Rivera re-created the
essence of her Broadway show ‘A Dancer’s Life’ with “A Woman the World
Has Never Seen,” special material written by Lynn Ahrens and Stephen Flaherty,
that includes excerpts from all her famous roles. “All That Jazz” was the
crowning encore with the audience roaring for more. Yes, it would have been
easy to sit and just keep watching and listening to this all-engaging performer
strutting her stuff. But, alas, we’ll have to wait till next season.
The impeccable trio was comprised of Carmel Dean, Musical
Director/Piano; Michael Croiter, Percussion/Drums; Mary Ann McSweeney, Bass.
Chita signing "A Dancer's Life" poster with the writer, Sandi Durell
John Kander with Sandi Durell and producer Pat Addiss
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Cabaret and Other Wanderings with Sandi Durell
BRIAN STOKES MITCHELL
“SONGS…I LIKE TO SING”
Feinstein’s at Loews Regency
November 11-15, 2008
Reviewed by Sandi Durell
‘Joy to the world’ can best describe the exuberance
that emanates from the depths of the soul of this man who is with everyone at
all times from the moment he enters and opens his mouth singing “I’ve Got You
Under My Skin” (Cole Porter) to his scat and pliable “One Note Samba”
(Jobin/Mendoca).
Brian Stokes Mitchell, or as he likes to be called ‘Stokes’,
was back in his living room at Feinstein’s after five years away. How
we’ve missed him in this intimate setting! But he’s a busy performer enjoying
a spectacular career as the inimitable leading man, winning a Tony Award for
the Broadway production “Kiss Me,Kate” along with Tony nominations for
“Ragtime” and “King Hedley II” and active television and film appearances as
well as impressive concert performance dates.
The stage at Feinstein’s was noticeably changed with no
piano, making room for his Grammy winning guitarist, flown in from Hawaii, Jeff
Peterson, along with Gary Haase on bass and one-of-a-kind percussionist Bashiri
Johnson. Stokes is particularly fond of Brazilian music making this grouping
the perfect backup. He is not perfunctory in his introductions of each of these
musicians, giving them the kudos they readily deserve. He gave a shining
spotlight to Jeff Peterson on a tune presented with ‘slack key guitar’,
invented in Hawaii, where one string is loosened to produce a certain sound.
Radiant and having fun at every moment, Stokes was
child-like in his presentation of “A Tisket, A Tasket” (Feldman/Fitzgerald) calling it his ear
worm that bore into his brain when he was a child, likening it to ‘ring
around a rosy’ and broadening the pleasure by adding ‘was it purple….no, no,
no, no – was it puce. . .chartreuse or chocolate mousse.’ Jobim’s list song “Waters of March” (it’s the mud, it’s the
mud, it’s the joy in your heart”) was an impeccable feat of lyric.
Unrestrained by Broadway’s legit expectations, Stokes is at
ease singing effortlessly with back up guitar on Carmichael/Washington’s “the
Nearness of You.” Traditional Hawaiian ditty “Keemo Kymo” ‘will solve all
the problems in the US’, says Stokes, as he engaged the
audience in helping him sing the song. As a pianist and songwriter, Stokes
wrote “Life Is What Happens”- surely a story of humanity - ‘life is what
happens while you’re waiting for life to begin. Don’t let it pass you by, it’s
gone in the wink of an eye’ Poignantly true!
Excited about the direction of change in our country, enthusiasm
abounded with “America The Beautiful” combined with Flaherty/Ahrens “Wheels of
a Dream” and speaking about his incredible experience playing Colehouse Walker
in “Ragtime” and the hope and possibilities presented. Happiness is a thing
called Stokes!
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Cabaret and Other Wanderings with Sandi Durell
THE MABEL MERCER FOUNDATION
THE 19th NEW YORK CABARET CONVENTION
Rose Theater – Home of Jazz at Lincoln Centre
October 30, 2008
Reviewed by Sandi Durell
It was “Hats Off to Liz Smith” the recipient of a Mabel Mercer Award that
sparked the out-pouring of stars appearing at Rose Theater.
For those not familiar with Mabel, she was an English-born
cabaret singer who performed in the United States, Britain, and Europe with the greats in jazz and cabaret. She
had become the toast of Paris by the
1930s, with admirers who included Ernest Hemingway, Gertrude Stein, F. Scott
Fitzgerald and Cole Porter. When WW II broke out, she traveled to America to sing in the finest supper clubs in New York City. She also made many concert
appearances across the U.S. The Mabel
Mercer Foundation was established with the efforts of her long-time friend and
professional associate Donald K. Smith in 1985. This not-for-profit arts
organization was formed to keep Mercer's memory alive, and to contribute to the
art of cabaret performing by supporting artists and providing information
resources.
Gracing the stage was singing icon Marilyn Maye opening the
evening with a 20 minute medley including songs “Looking At You,” “Fabulous
Face,” I Get a Kick Out of You,” “Just One of Those Things” to mention a few.
Marilyn is known for her impeccable phrasing and being a master class every
time she performs! “Grey Gardens” star Christine Ebersole (soon to be
appearing on Broadway in Noel Coward’s Blithe Spirit) believes that New York is the center of the Universe and Liz
Smith puts a face on it saying ‘she’s a good time gal with cowboy boots.’
Her renditions of “My Funny Valentine” and “I Wish You Love” were heartfelt.
Ann Hampton Callaway declared her love of the American Songbook with the
quintessential song of yearning “Over the Rainbow” and then proceeded to
compose a song to Ms. Smith with words and phrases from the audience, i.e. Diva,
Texan, natural blond, Queen of Dish…and a glorious song it was! Other
singing notables included powerhouse Klea Blackhurst with “It’s Today” and Jeff
Harnar with musical director Alex Rybeck presenting a timely “Politics and
Poker/Little Tin Box” from “Fiorello” that brought the house down.
Special appearances were made by Robert Osborne, Marion Seldes
and the one and only Michael Feinstein who lovingly played and sang “Old
Friend.” Liz, who was mad about Mabel, always giving her the news coverage she
deserved, wowed us by singing “The Glory of Love.” Surprise guest artist
Florence Henderson closed the evening with her national anthem “The Brady Bunch.”
Yes, we all sang along!
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Cabaret and Other Wanderings with Sandi Durell
4th ANNUAL BROADWAY CABARET FESTIVAL
“A Tribute to Lerner & Loewe”
Town Hall – October 17, 2008
Reviewed by Sandi Durell
One of the busiest guys in town is Scott Siegel. Together
with wife, Barbara, they cover an almost endless vista from producer to critics
and book writers. Scott is not only responsible for producing this Festival,
but the Broadway By The Year Series, Broadway Unplugged and The
Nightlife Awards. He wears all hats: creator, writer, director and host. Attentive
to historical details, one can always rely upon him for accurate data
surrounding the various songwriters and original performers in Broadway
musicals as well as trivia-related information that only hardcore Broadway and
Cabaret addicts, like me, must know. For instance; Loewe arrived in this
country in 1924 and was a prospector and a boxer. Lerner was a Harvard grad
whose family owned the Lerner Shops (oh, that Lerner!) and was married eight
times.
This year’s Annual Broadway Cabaret Festival was a virtual
plethora of some of the best on the Broadway stage, featuring beautiful ingénues
as well as handsome leading men. Brigadoon opening “Almost Like Being in
Love” was a magical blend of vocal harmonies by soprano lovelies Julia Murney (Wicked,
The Wild Party), Sarah Jane McMahon (Pirates of Penzance) and Erin
Crouch Denman (42nd Street, revival - yes, she and Jeffrey
Denman, director/choreographer were recently married!). Other Brigadoon
highlights included “Come to Me, Bend to Me” sung unplugged (sans mic) and
hymn-like, by tenor Ron Bohmer (Phantom of the Opera, Scarlet Pimpernel)
on bended knee, Irish brogue and all.
Camelot was represented by Robert Cuccioli (Jekyll
& Hyde) with “C’est Moi” as well as Lerner and Burton Lane’s On A
Clear Day with ”She Wasn’t You.” Cuccioli has a fan club wherever he
appears by the sound of the screaming and cheers! Daniel Reichard of Jersey
Boys fame was a big surprise presenting his legit vocal side in My Fair
Lady’s “On the Street Where You Live.” Douglas Ladnier (2007 BackStage
Bistro Award, Jekyll & Hyde), Ron Bohmer, Jeffrey Denman (Naked Boys
Singing) and Kevin Worley (A Chorus Line) were splendid harmony
buddies on Paint Your Wagon’s “They Call the Wind Maria.” Cast Party’s bon
vivant host Jim Caruso smoothly sang and danced his way thru the Royal
Wedding “Sunday Jumps” with Jeffrey and Kevin in this song and dance
extravaganza. From the same movie “How Could You Believe Me” was another top
notch choreographed piece performed by newlyweds, Mr. & Mrs. Denman. Also
appearing was Lorin Latarro (Curtains, Movin’ Out).
Special guest Marni Nixon (4 Emmy Awards, etc.), the singing
voice of screen idols Deborah Kerr, Natalie Wood and Audrey Hepburn as well as
Broadway star in her own right (Follies), enchanted us with “I Could
Have Danced All Night” & “Loverly” (My Fair Lady), culminating in
swells of cheers, applause and ovations. Yes, it was a grand night for singing
and stars!
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Cabaret and Other Wanderings with Sandi Durell
MARY CLEERE HARAN
“Mad About Manhattan”
Feinstein’s at Loews Regency
October 16, 2008
Reviewed by Sandi Durell
East Side, West Side. . .we’re Mad About Manhattan. . . or some say we’re Mad At Manhattan! Whatever your feelings, we’re glad that Mary Cleere Haran puts to music her flirtatious madness about this exciting city. Elegant in white pants suit, sans jewelry of any kind, she can’t wait to share her early days in Manhattan some 30 years ago, when she arrived from San Francisco and immediately sought out the residences of the Great American Songbook writers; Richard Rodgers, George and Ira Gershwin’s separate penthouses, Cole Porter at the Waldorf, and the great Lorenz Hart (whom she adores) at the Ardsley on Central Park West. Included was a stop at the Algonquin to relive some of Dorothy Parker’s ghost. Haran was clearly into a “Crazy Rhythm” and “Running Wild” in her nostalgia.
Vocally a little more raspy, she is still cabaret’s ultimate story teller with a lyric and whether it’s Porter’s “DeLovely” or Hart’s “Way Out West (on West End Avenue)” from ‘Babes in Arms’, Haran is animated and tongue-in-cheek funny.
She goes on to talk about childhood in ballet school, Mom deciding this lass belonged in Irish Step Dancing classes instead, her days studying violin and eventually moving on to becoming a big band singer. Her idols: Dionne Warwick, Petula Clark, Ella, Judy and Peggy Lee. She had a thing for Shirley Temple movies that concluded in ‘Little Miss Marker’s’ bedtime “Lowdown Lullaby”- a sad, menacing song crooned by a gangster’s moll. Creepy! “Broadway Jamboree,” introduced by Alice Faye, is the ultimate list song on which Haran doesn’t waiver.
Seemingly always wanting to sing the guy songs from “Guys and Dolls,” she does just that moving thru “Oldest Established” to “Sit Down You’re Rockin’ the Boat” to Brando’s quiet “My Time of Day.”
Musically a vintage show, highlighting the 20’s, 30’s and 40’s it unknowingly (or knowingly) captures the Depression pre/post eras. Feel familiar? With all the patter and stories, the show was somewhat longer than necessary but if it’s Mary Cleere, we manage! Haran was ably accompanied on piano by Don Rebic and on bass by Chip Jackson.
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Cabaret with Sandi Durell
September 29, 2008
THE JERUSALEM SYNDROME
New York Musical Theatre Festival
Reviewed by Sandi Durell: September 23, 2008
Imagine traveling to Jerusalem and after experiencing the religious and historic sites, suffering a mental breakdown and suddenly believing you are the God or Messiah or Biblical character! Of course, many who are afflicted start out with psychological problems requiring lifetime therapy. Some, however, are normal, regular ‘you and me’ type folks who have no medical history of psychological anything. Maybe some personal problems that brought them to Israel in the first place. For them, it’s a temporary breakdown as they roam the streets of Jerusalem after escaping Hadassah Hospital wearing bed sheets and living out their biblical stories. If you happen to be Jewish, the Syndrome favors characters like Abraham and Moses, while Christians generally become Jesus or Mary. Eventually, they all snap back to reality but recall their delusions with some embarrassment. Get the picture?
Many of the musical numbers are filled with clever and witty patter-like lyrics, helping to unfold the story. “Daddy Loved Jesus,” “Weirdo in a Bed Sheet,”, “Room 17,” “What a Day” and title song “Jerusalem Syndrome” all bring this wacky comedy into gear. As with all comedy, tragedy is just around the corner.
Liz Larsen as Phyllis, is the frustrated, childless wife of Alan, played by Stuart Zagnit, hoping to rekindle her romance with a husband who spends just about every waking moment on his cell phone. She becomes Sarah to gorgeous soap-star Mickey Rose played by Austin Miller as Abraham, to play out her romantic fantasy. “Doing It (for God)” is a hysterical rendition that puts a seal of approval on their sexual-almost encounter.
The group of tourists led by first time “Tour Guide Extraordinaire” (played by Nick Verina), are typically funny with Jewish expressions like ‘plotz’ and ‘oy vey.’ Referring to God as The Big Kahuna, the cast of characters includes John The Baptist, and two Mary’s (one black, one white).
Although all the voices and performances deserve kudos, the star of this production is Chandra Lee Schwartz who plays Rena, the nurse. She’s got that certain thing and it works!
The second act needs some repair and the production requires tightening, but as this moves along, and it should, it will grab audiences and critics alike. Book and Lyrics are by Laurence Holzman and Felicia Needleman with music by Kyle Rosen. It is directed by Annette Jolles with choreography by Lorin Latarro. Music Direction/Orchestrations by Sariva Goetz.
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Cabaret with Sandi Durell
September 22, 2008
"DORIS DAY: The Untold Story of the Girl Next Door”
by David Kaufman - 8 years in the writing and acknowledged by Liz smith as “The Definitive Biography.”
Interview reviewed by: Sandi Durell - September 21, 2008
JASA, an organization that presents various programs for 55+ adults, presented an interview with author David Kaufman about his best selling book “Doris Day: The Untold Story of the Girl Next Door.” Mr. Kaufman, a journalist, went from long time Doris Day fan to biographer and in so doing uncovered information about this largely and unfairly neglected cultural icon.
Doris Day, nee Doris Kappelhoff, had a personally tragic and unhappy life beginning with her childhood. She was the daughter of Alma, a classic stage mother, and a father with whom she had no relationship. When Doris was 8 years old, she heard him having an affair with Alma’s best friend in the bedroom next door to Doris. Her first marriage to Al Jordan produced a son, Terry, when she was 17 years old. Al was an abusive husband, beating Doris and insisting she have an abortion. Her second husband was George Weidler and her longest marriage was to third husband, Marty Melcher, also her manager. Terry and Doris were more like brother and sister, rather than mother and son, as Alma took over raising Terry with Doris away a great deal of the time on the road performing with the band. Her last marriage was to David Comden. All four marriages had tragic circumstances.
Doris would seldom, if ever, perform live as she was insecure about her abilities and appearance. In 1947 at a small New York City boite, “Little Club,” she performed her first and last solo cabaret act, spending the time before going on stage throwing up.
Doris Day is still the number one box office star of all time, starting her career as a big band singer with Les Brown in the 40’s and recording over 600 records. Her first big hit, “Sentimental Journey” was followed by “Its Magic.” She was the number one female vocalist for over 10 years in the 50’s/60’s, going on to make movie magic beginning with the 1948 release of “Romance on the High Seas” when she was 26 years old. Under contract to Warner Bros. for seven years, her initial salary was $500 per week with a yearly increase of $250 per week, per year. My how things have changed! She, of course, went on to film “Calamity Jane” (hit song ‘Secret love’), “The Man Who Knew Too Much” (Que Sera, Sera) and with Rock Hudson, born Roy Fitzgerald, “Pillow Talk” in 1959. “Love Me or Leave Me,” for MGM, the life story of Ruth Etting, elicited from James Cagney a comparison to Laurette Taylor, when he said Doris was one of the most natural actresses around. She never took acting lessons. This was a particularly difficult movie for her as there were so many parallels to her own unhappy life. The inside scoop, from David Kaufman and his sources, confirm the fact that she had an affair with Frank Sinatra. She also dated Ronald Reagan when they were both in between marriages.
Now 86 years old, Doris Day lives alone on her 10 acre estate in Carmel, is very much involved in her pet foundation and not particularly happy with the attention she has been getting since the release of this definitive biography. Unfortunately, all Doris Day ever wanted was the dream of that white picket fence, all it represented and to actually be ‘the girl next door.’
David Kaufman will be presenting again at the New York Sheet Music Society on February 14, 2009 with a very special performer guest artist.
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Cabaret with Sandi Durell
September 19, 2008
ANNA BERGMAN
“My Heart Stood Still: The Love Songs of Richard Rodgers”
Feinstein’s at Loews Regency
Reviewed by Sandi Durell: September 14, 2008
In the nearly lost art of the salon, chanteuse Anna Bergman made her way from the back of the room to the stage, sans microphone, setting the tone for the evening with the engaging “Lover,” intertwined with “Isn’t It Romantic?” An elegant diva, in the true sense, Ms. Bergman’s soprano never sounded lovelier. Is it because she’s in love? Ah, yes! Celebrating the 10th Anniversary of Feinstein’s, Anna moves easily from one spectacular song to another. Richard Rodgers co-wrote with the best; Lorenz Hart, Oscar Hammerstein II, Stephen Sondheim, Martin Charnin.
Ms. Bergman is a classically trained soprano who has learned to use her art in cabaret. Her clear, soaring voice and honed acting skills, give her the latitude necessary and we are regaled with many of her favorites and ours. The wit, wisdom, romance and passion that are the essence and genius of great songwriters come to life in the blissful “If I Loved You,” “It’s A Grand Night for Singing” and “Hello Young Lovers.”
“Do I Hear A Waltz?” appears as a solo and again as a duet in a mixture that works well with talented accompanist/arranger Paul Greenwood on “Ten Minutes Ago” (from the television musical ‘Cinderella’) where Anna’s coyness and charm are given the chance to emerge. She is a beautiful lady and when afforded the opportunity to sing the spicy, sassy, naughty gal on “The Golden Ram” (Martin Charnin, from ‘Two By Two’), the full picture surfaces! “My Romance” is, again, another clever pairing with “Stay” as it moves to “Something Wonderful” (Paul Greenwood piano/vocals).
Ms. Bergman’s generosity is evident when she leaves the stage giving her accompanist Paul Greenwood a chance to shine as he solos on “There’s A Small Hotel.” She returns with the double entendre of “Bewitched” as the story quietly unfolds with some lyrics we don’t hear too often! Her guest, Broadway leading man and heart-throb Brent Barrett (“Phantom:The Las Vegas Spectacular,” “Chicago: The Musical,” “Kiss Me, Kate,”) adds just the right amount of bling to the show as they duet on “No Other Love” and he solos with “Take The Moment.”
All told, Anna Bergman is a delight on the ears and eyes and a joy. However, the choice of material is a little too ballad-heavy including the sad ending “You’ll Never Walk Alone.” When given the chance to peek into Ms. Bergman’s window of sassiness and fun we want more, sir, we want more!
The show is ably directed by Eric Michael Gillett.
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Cabaret with Sandi Durell
September 9, 2008
MICHAEL FEINSTEIN – “THE SINATRA PROJECT”
Feinstein’s at Loews Regency – September 2 - 6, 2008
Reviewed by Sandi Durell
In the genre of the big band style, Michael Feinstein took center stage at Feinstein's ballroom backed by 17 of the best musicians available. The atmosphere was reminiscent of Las Vegas (where this show surely belongs) as Mr. Feinstein paid tribute to 'ole blue eyes' and The Great American Songbook. The show coincides with the release of Michael's 24th album scrupulously recorded to recreate sound and style from the late 50's Capitol albums.
From the opening overture and vocals "I've Got The World on a String," through a dozen of the Sinatra favorites including "The Lady Is A Tramp" to what Michael called 'the train song', "I Thought About You," the crowded room was swinging to and mouthing the lyrics of almost every one of the Sinatra hits. Michael is fervent as he thanks everyone for coming to keep this music alive in our world. With people like Robert Kimball (who compiled the book of lyrics of Lorenz Hart) sitting directly in front of him, he was a little apologetic about singing a wrong lyric on "Tramp!" After all, Sinatra was all about the lyric and the intimacy it provided.
Michael Feinstein is not an imitation of Sinatra but very much his own stylist and shines when fronting the band with mic in hand. After regaling his audience with a story about his first time playing for Sinatra at a private party with such notables as Liz Taylor and Dinah Shore attending, he sat down at the piano to express his feelings in "Where Do You Start?"
Highlights of the show include Porter's "Begin The Beguine" as Michael's glowing tones swung into a gifted reinterpreted arrangement by Bill Elliott, piano conductor, as well as "It's Alright With Me" and then a dreamy version of the saloon song "Fools Rush In."
Other notable musicians in this 17 piece big band include guitarist Bucky Pizzarelli, drummer Jim Saporito, with David Finck on bass, along with a plethora of top trumpeters trombones and reeds. To quote Michael, "Music and lyrics express the essence of existence in various circumstances." We are all blessed because of this music!
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