Perfect Hermany: A Musical Tribute to Jerry Herman
Jason Graae enters (with grandiose affectation) to perhaps four (unseen) people applauding (in the otherwise empty venue). Draping oboe music over a stand with the flair of Art Carney addressing his ball, the artist begins tonight’s overture, “La Cage aux Folles” and “I Never Said I Loved You” (Dear World). In days past, his instrument was strictly for comic relief. No more. The man plays. Bow, bow, “Oh, it was nothing.”
“I have always been a pianist who arranges things…”MD/Pianist John Boswell begins, with Graae picking up a novelty version of “Just Leave Everything to Me” (Hello, Dolly!) He’s thrilled, he says, to be paying tribute to Jerry Herman, “that well known unmarried, half a billionaire.” Graae is an artist whose tongue can often be found planted firmly in his cheek. He swings from deadpan jokes and overripe facial expression to inhabiting a moving lyric with the flexibility of an athlete. “There’s No Reason in the World” (Milk and Honey) exemplifies just such a full, warm performance.
Jerry Herman (1931-2019) grew up in Jersey City and excelled at Parson’s School of Design until his mother, employing six degrees of separation, managed to get her boy in front of Frank Loesser with his music. Loesser’s encouragement propelled the nascent writer to the University of Miami music department. “Jerry’s one of only a handful of musical theater writers who create both music and lyrics,” the singer notes prefacing a particularly affectionate rendition of “One Person” (Dear World).
When Graae first came to New York City, he was determined to play two roles, Barnaby Tucker in Hello, Dolly! and Che in Evita. “I have very wide range.” We’re treated to a wry story of his first underwhelming meeting with Herman at an audition for the national tour of Dolly. “I didn’t get it…but I took my dad to see it in Chicago…The guy playing Barnaby was really-blonde.” “I held her” (fists close at his side) “for a moment” he sings, creating a visual “Yes!” (“It Only Takes a Moment” – Hello, Dolly!) The ballad is followed by “Loving You,” a rarely heard song from the film Mame. Hands clasped, Graae inflates with sweet, tremulous feeling.
In the 1990s, the performer was part of a touring show called Hello, Jerry! We watch a video of his “Before the Parade Passes By” (Hello, Dolly!) from Washington, D.C. with Herman at the piano. It’s as square-jawed, everyman as it gets; resonant and expansive. With Mack and Mabel’s “Tap Your Troubles Away,” we’re back with the clown. Graae hauls out a plank ostensibly on which to dance, but “dance break!” briefly moves only the toes of one foot, then the other. Step, pump, step, pump…Pat-a-pat-pat on his thighs.
At the piano, he cites things he has in common with the great Herman like loving big, cheap buffets and a naughty sense of humor. “He could get away with anything with that big sweet grin.” They were also both, “self-acclaimed mama’s boys.” Herman’s mother would fly into his room in the morning, fling open the shutters (it’s said), and declare, “It’s today!” “You’re my Best Girl” (Mame) arrives sincere and lilting, dedicated to Mrs. Graae. He seems to see her.
At Herman’s request, Graae starred as Polish/Jewish intellectual S. L. Jacobowsky in the Colony Theater revival of Grand Tour, an unsuccessful show (on Broadway) with a predominantly good score. “An incredible role. I peaked in Burbank.” He compares the character to the writer, “both optimistic, hilarious, passionate survivors.”
We hear a besotted “Maryanne “Don’t tell me that you’ve heard the cello/For you’ve never met Maryanne…” and Mrs. J. L. Jacobowsky,” an aspirational love song performed on stage riding an apple cart fleeing from the Nazis. Graae hops down from his stool and infectiously gestures. He must’ve been great. (Cue ironic Joel Grey anecdote. )
“No tribute would be complete without this anthem for the ages” introduces the iconic “I Am What I Am.” “This is not just for the LGBTQ community, but also anybody who takes chances and lives outside the box.” The song arrives straight from the hip with pride and passion. Arms extend palms up. He punches emphasis. A “Hello, Dolly!” sing-along is next, words appearing on the screen as Graae and Boswell duet. I dare you to resist.
A second taped performance is excerpted from Jerry Herman’s Memorial at The Lunt- Fontanne Theatre. Graae sings (and plays) “You I Like” (The Grand Tour) interwoven with droll “bits”- including a modified kazatsky the performer declares he learned from Marilyn Maye. Levity must’ve been a tonic. He’s joy on the hoof.
With the show’s encore, “I Promise You a Happy Ending” (Mack and Mabel), Graae notes that Herman met his love Terry Marler, with him until his death, about the same time Graae met “the love of my life.” Interpretation is heart-on-the-sleeve moving.
When the smoke clears, Jason Graae will be back on the road with ‘The Jerry Herman Legacy’ featuring Klea Blackhurst, Scott Coulter,Debbie Gravitte, Ron Raines, JOhn Boswell, and Graae himself.
A prologue to the show features four California vocalists each offering a song: Jacqueline DeMuro, Katrina Lauren McGraw, Lauren Louise and Kelley Dorney. Of these Dorney is the one with the goods – a fine, strong contralto, spot-on expressions and deft comic timing. Her choice, “Where in the World is My Prince” from the unproduced Miss Spectacular is a find. She wears it as if bespoke.
Perfect Hermany: A Musical Tribute to Jerry Herman
Featuring Jason Graae
John Boswell- MD/Piano
Produced in collaboration with Musical Theatre West
Available to stream April 10- May 2, 2021
Photos Courtesy of Jason Graae
Next: Lady Day at Emerson’s Bar and Grill May 8-30 2021.
