Klea Blackhurst – Autumn in New York: Vernon Duke’s Broadway

Not, as one might assume, a show for the Fall months, Klea Blackhurst’s presentation is an illuminating glimpse into the popular/show work of an artist who lived in two worlds.

Vladimir Dukelsky was born to a noble Russian family in 1903 and admitted to the Kiev Conservatory at age 11. In 1919, the family fled civil war emigrating to New York – in steerage. By some incredible stroke of luck, he met George Gershwin, whose “Swanee” (with Irving Caesar) he admired. They became friends. It was Gershwin who suggested the Americanization of his name.

Vernon Duke 1937 (Public Domain)

Dukelsky composed successful ballets, symphonies, and chamber music. Duke started with film scores, then turned to Broadway. He never had a hit, but individual songs endure.  “It’s like playing golf after reading Schopenhauer,” the vocalist quotes. Research is excellent.

Blackhurst discovered Duke with Dawn Upshaw’s popular 2003 album and was hooked. “Not a Care in the World” (with John Latouche) is a vivacious opening. Weight seems to lift from collective audience. The performer is something of a Pied Piper in that way.

“April in Paris” (with Yip Harburg) is longlined, yet swings. “Whom can I run to (she shakes her head)/What have you done to my heart?” A hint of “American in Paris” peeks out from Michael Rice’s splendid arrangement. Taking him at his word, Duke’s friends visited The City of Light in April only to get drenched with rain. “We needed two syllables,” the composer explained.

For a revue called Thumbs Up, Duke wrote “Autumn in New York” as the self titled pendant piece to “April in Paris.” Blackhurst appears to be seeing what she sings. Her head tilts. Verses unspool like satin ribbon. It’s a slow dance at The Rainbow Room. “Di-viiiine” arches. “It’s good to live it again” is exhaled.

“I Like the Likes of You” (with Yip Harburg) arrives part spoken, part sung. She’s credibly butterflies- in-her-stomach-shy. Vocal talent sometimes makes us forget this is an actress. “I Can’t Get Started” (with
Ira Gershwin) finds Blackhurst palpably discouraged. Lyrics emerge as if she’s unwilling to accept them. We sympathize. As rendered by Bob Hope and Eve Arden, the tune gained no traction. Not until Bunny Berigan made it his theme song did it catch on.

Duke didn’t jump at the chance to write 1940’s Cabin in the Sky (with John Latouche). “… my first impulse was to turn it down because as much as I admired the Negro race and its musical gifts, I didn’t think myself sufficiently attuned to Negro folklore.” He changed his mind. Missing a viable song at the end of Act I, the collaborators worked with Ted Fetter to come up with “Taking a Chance on Love.” Ethel Waters loved it. Blackhurst is great with a verse. Chorus zings. Eyes crinkle.

Michael Rice, Klea Blackhurst, Ray Kilday (behind), Sean Harkness

“Poor As a Church Mouse”…but rich in friends… from Sadie Thompson might have been introduced by Ethel Merman. The star objected to a lyric threatening to leave if it wasn’t changed. Duke refused on principal. Merman was replaced by June Havoc. “The show lasted 34 performances, the exact number of days Merman was married to Ernest Borgnine. Coincidence?” Pauses seem an actual part of melody.

“Sailing at Midnight” evokes a palm filled nightclub during its hay day. It undulates like loose hips, late tide waves. “I can’t really imagine Merman’s take on that one,” Blackhurst comments. Nor can I. This vocalist makes it juicy. (Both Howard Dietz.)

“Off Again, On Again” (with Yip Harburg), to Rice’s stylish, tap-dance-evoking music, elicits a bit of sophisticated scat. Blackhurst purveys this as well as familiar brass with which she closes the show. “Swanee”, the only song not by Duke, is somehow expansive without going over the top. I’ll bet the artist would do a great Jolson evening.

Photos by Alix Cohen

Klea Blackhurst- Autumn in New York: Vernon Duke’s Broadway
MD/Piano – Michael Rice
Ray Kilday – Bass; Sean Harkness- Guitar

Show Two in Box Set
Next: A Brand New Evening with Klea Blackhurst Sunday May 18, 2025
Chelsea Table & Stage 
152 West 26 Street