Susan Winter Archives

The 27th New York Cabaret Convention: Opening Night

10/20/2016

And so they gather once again like migrated birds instinctively drawn to the annual Cabaret Convention, the smorgasbord of an art still beloved. From all over the country, hotels are booked, other shows ticketed. Some out of town attendees meet only once a year on this occasion, while local denizens take the opportunity to greet favorite artists and compare opinions. The 27^th edition of the celebratory event boasts a 15 year-old newcomer as well as performers from London and Australia. Buzz is palpable.

KT Sullivan by Maryann Lopinto

Artistic Director of the Mabel Mercer Foundation/Host, KT Sullivan, opens the show with a high, light version of Cole Porter’s “You’re the Top.” Tonight, she might be singing about the audience or the extraordinary fascinator perched on her chignon. (Piano-Jon Weber, Bass- Steve Doyle, Drums- Rob Garcia)

Next we’re treated to Robert Creighton who must run to the theater where he’s starring in his own co-written musical Cagney. “No matter what your political leanings, sometimes it’s hard to see how great this country is.” Creighton performs George M. Cohan’s “Give My Regards to Broadway” and “Yankee Doodle Dandy,” unfathomably without dancing. Renditions are easy, slightly nasal, with apt Cagney inflection. (MD/piano- Matt Perri)

Highlights of the evening follow.

Josephine Bianco; Kelly McDonald by Maryann Lopinto

A finalist at both the Metrostar and Michael Feinstein’s Great American Songbook Academy competitions, 15 year-old Josephine Bianco offers Jule Styne/Bob Merrill’s “People” displaying all the right instincts. The performer takes her time, looks into audience faces, and imbues the number with both personal expression and subtle modulations. Someone to watch.

Burgeoning artist, Kelly McDonald, introduces one of the evening’s few contemporary numbers, “Latte Boy” (Marcy Heisler/ Zina Goldrich). Her vocal is lovely, character embodiment innocent and credible. Kudos to the appealing McDonald for taking a risk. (Piano on both-Jon Weber)

Stacy Sullivan; Natalie Douglas by Stephen Sorokoff

From new CD Stranger in a Dream, we hear Stacy Sullivan’s deft, airbrushed “I’m Beginning to See the Light” (Duke Ellington/Don George/Johnny Hodges/ Harry James) and a well rendered swing selection in which the vocalist shifts octaves like an aerialist (MD/piano-Jon Weber).

The surprising opening of Act II is a buoyant “Helpless” (Lin-Manuel Miranda from Hamilton) featuring Karen Oberlin, KT Sullivan, Natalie Douglas as Eliza and Jon Weber- rapping! (MD/piano-Jon Weber). Douglas is then palpably surprised by winning the Donald F. Smith Award endowed by Adela and Larry Elow. Her interpretation of Jerome Kern/ Oscar Hammerstein II’s “Can’t Help Lovin’ That Man” is beautifully understated. (MD/piano- Mark Hartman)

Vivian Reed and Dancers by Stephen Sorokoff

Broadway’s Vivian Reed unleashes “Sweet Georgia Brown” (Ben Bernie/Maceo Pinkard/Kenneth Casey) as a full production number replete with choreographed backup dancers and bebop scat followed by a gospel “Believe” (admirably without overshooting the mark), which visibly courses through her. (MD/Piano-William Foster McDaniel)

Kristoffer Lowe’s jaunty, tandem “A Quarter to Nine” (Harry Warren/Al Dubin) and “If You Feel Like Singing, Sing” segues from stylish to infectiously happy. Lowe is old school classy. Making his Convention debut, the immensely elegant, decidedly decadent Kim David Smith captivates in English and pristine German with renditions of “Illusions” and “Eine Kleine…” (Piano-Tracy Stark)

Kristoffer Lowe; Kim David Smith by Maryann Lopinto

Irving Berlin’s “It Only Happens When I Dance With You” is married to Amanda McBroom’s poignant “Dance” by Susan Winter who takes us with her on every emotional journey. Shimmering arrangement by MD/pianist Alex Rybeck. The reliably show-stopping Carole J. Bufford erupts into “St. James Infirmary” with powerful vocal from chest to throat, growl to howl, sinuous moves, and a command of the stage we rarely see. (Matt Baker-piano, Tom Hubbard-bass, Rob Garcia-drums, Charlie Coranics- superior Trumpet)

Maureen McGovern is appreciatively presented this year’s Mabel Mercer Award. The artist then sings two immensely original takes on numbers from The Wizard of Oz (Harold Arlen/Yip Harburg): a charming preface of “Optimistic Voices” (You’re out of the woods…) leads to an a capella and acoustic “Somewhere Over the Rainbow” which one can only call indelible. Showcasing her range, McGovern then delivers an ardent, “Blues in the Night” (Harold Arlen/Johnny Mercer) with an entirely different voice. Wow. (MD/Piano-Jeff Harris)

Maureen McGovern by Stephen Sorokoff

Also featuring: Two Randy Newman songs from Karen Oberlin-one appealingly shadowy, the other, a dissonantly paired political ditty (Piano-Jon Weber); T. Oliver Reid’s bubbly “I’m Throwin’ a Ball Tonight” by Cole Porter (MD/Piano-Larry Yurman); A warm Fran Landesman/Alec Wilder number from Barbara Fasano who makes us empathize with every sentiment (Piano-Eric Comstock); Stephan Bednarczyk’s angry take on Noel Coward’s “Don’t Put Your Daughter on the Stage Mrs. Worthington” which defangs implicit wit…

Jacob Storms, whose voice is like an articulated hum, chooses two iconic songs on which he unfortunately leaves no personal stamp. (Piano-Jon Weber) Eric Yves Garcia’s rendition of Cole Porter’s “I’m A Gigolo” emerges vocally forced instead of insouciant, though the artist is capable of the latter. It should be noted, to my knowledge, this is the first time superb performer Leslie Hutchenson,“Hutch,” has been mentioned on the Convention stage. If you don’t know his work, I highly recommend research.

Barbara Fasano; Matt Baker by Stephen Sorokoff

Elvis Costello’s “Almost Blue” is evocatively performed by Matt Baker including breathy vocal and arrangement that sounds like fine, 1950s jazz. (Bass-Endea Owens, Drums-Darrian Douglas) He’s less successful with an over long, dense interpretation of the theme from The Apartment (Charles Williams.) Crowd pleaser Christina Bianco safely repeats her Kander and Ebb “Cabaret” turn for the umpteenth time, imitating such as Julie Andrews and Judy Garland. The talented vocalist might consider moving on. (Piano-Jon Weber)

Thanks to Steve Doyle and Ron Hubbard, bassists, Rob Garcia-drums.

The evening ran a long 2 ½ hours, but offered many rewarding performances.

Three to go. Information and tickets for October 20 & 21: www.mabelmercer.org

Opening Photo: Carole J. Bufford by Maryann Lopinto

The Mabel Mercer Foundation presents
The 27^th New York Cabaret Convention: Opening Night
Hosted by KT Sullivan
Jazz at Lincoln Center’s Rose Theater
October 18, 2016

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Susan Winter – Love Rolls On

10/09/2016

For a couple of years Stephen Hanks has been producing a series of New York Cabaret’s Greatest Hits; October 7 featured his 14^th installment. (Two more of this series will be presented this year at the Metropolitan Room, and eight more are slated for next year.) “Greatest Hits” are not typically for ardent fans – since they will have heard the songs and perhaps the show before – but these are not typical artists or shows. Often the revivals are some months or years gone and, as such, they bring the artist to the fore after a period of further reflection on the material. The result may be better than the original and, at the very least, one can expect the shows will be solid and professional.

Susan Winter had achieved some success as a cabaret performer in the 70’s but took an extended leave to raise a family. She returned to the stage in 2008 after a 30 year hiatus and was promptly gleaning nominations and awards, including the 2009 Bistro Award as outstanding vocalist for her show Love Rolls On (originally launched at the Met Room). And it is Love Rolls On that was reprised on October 7, complete with her original band of Rick Jensen on piano and Tom Hubbard on bass – all of them now more established, mature and mellow.

A review of Winter’s original Love Rolls On included a reference to her “cheerful mezzo.” Whatever the history, now her voice is more of a velvety alto – with a soothing viscosity. Her musicality, vocal placement, articulation and humor (and her joy in performing the show) are all very evident. Winter dispels any cold thoughts her name might conjure with an emotional hug for everyone in the room; yet it is not overly sentimental.

Rick Jensen and Tom Hubbard

Oftentimes a performer is so comfortable in his or her skin, on the stage with the material, that the audience can relax into the show like a comfortable chair. There is no frisson of risk, no sign of nerves. There is a trade off there. The electricity is less, but the ease is greater. Winter has that ease. Even when a key was flubbed, there was a humorous reference and a smooth segue into perfect harmony. And Winter is at an age when one might anticipate some diminution of vocal control; I heard no sign of that. Artists that perform regularly may keep that control for decades more (e.g., Anthony Benedetto); I can hope that Winter will do so. The original material remains fresh, and Winter kept it that way throughout the evening.

Jensen and Hubbard, well known regulars on the cabaret circuit, provided more than background. The accompaniment was musically rich, neither bashful nor overbearing, and a fully significant component of the show – adding as rich a sound as a piano, bass and voice can generate.

The show sprang from Winter’s reflections on the death of her mother and her consequential discovery of a cache of love letters between her parents – the mother she had known and the apparently loquacious father she had only known, to that point, as a man of few words. The show is expressly about relationships (but isn’t all decent literature?); particularly loving relationships, and how they mature in time. Winter’s narrative connected the pieces.

Winter opened with “Moondance” (Van Morrison) in a smooth and mellow arrangement which, upon her introduction by the Met Room, picked up a driving syncopation and a growing dynamic. She moved on to “You’ll See” (Carroll/Coates) in a similar style – after which I wanted a cigarette (if one could still be found.) Winter talked about her home in Florida (under threat from Hurricane Matthew), a small cabin in Pennsylvania and a modest apartment in Manhattan as an intro to “Anyplace I hang My Hat is Home” (Arlen/Mercer). Winter spoke of relationship advice given one of her sons, to “be lucky”, before performing the beautiful “It Amazes Me” (Leigh/Coleman). She next sang “An Older Man is Like an Elegant Wine” (Lee Wing), a very funny song she reported having previously sung at a JCC for the Gesund-ers (men over 60 and capable of enjoying the occasional “lunch”):

. . . And so that’s why the man
with whom I’d like to combine
will be an older man who’s like an elegant wine.

And when I meet him
I’ll enchant him
Hug him, kiss him
Then I’ll decant him

at which every man in the place, she reported, slicked back a cow lick and sat a little taller. Winter can still be a bit of a coquette.

Winter then related the story of having discovered her parents’ letters. Her mother, Lil, the third of nine children, ran off to marry her dad in New Orleans, a few weeks after he had been drafted. They had six weeks together before he shipped out – marking the start of the correspondence. She followed that with “I Can’t be New” (Werner/Paul), a smart and somewhat wistful song about what we can offer as we age, and what we can’t. Winter assured us the she, at least, had never been unfaithful; but, she explained, her memory isn’t what it was.

“I’ve Still Got My Health” (Cole Porter) was upbeat, smart and sassy. With reference once again to her parents’ post elopement correspondence, Winter sang “After Hours” (Parrish/Bruce/Feyne) about longing for an absent lover; and, for the father she only got to know through his letters after her mother’s death, “Isn’t It a Pity” (Gershwin/Gershwin), a poignant reminder of late-discovered opportunity.

Winter performed a more haimish number “I Love the Way You’re Breaking My Heart” (Drake/Alter) with Jeff Stoner, a member of Winter’s wide cabaret family (accompanying on the ukulele).

Winter and Jensen performed a lovely duet/medley of “Old Friend” (Cryer, Ford) and “In Passing Years” (Jensen) – which I would not have thought could be dovetailed, but was. The oddly paired voices were nicely and surprisingly warm toward each other. Additional songs, ending with” Our Love Rolls On” (Frishberg), nicely filled out the evening.

The audience was warm, responsive and enthusiastic. I have no basis to expect this show to be reprised again but you might well benefit by keeping an eye on the Metropolitan Room calendar for later performances by Winter and subsequent editions of the Greatest Hits series.

Photos by Fred R. Cohen.

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