Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.

Adrienne Warren

You’re Got a Friend: A Celebration of Singers and Songwriters


The New York Pops season finale paid tribute to a swathe of songwriters from the last 60 years. After an instrumental Beatles medley, we hear pop, country/folk and r & b songs performed by tonight’s four Broadway veterans: Will Chase, Christopher Jackson, Jessie Mueller, and Adrienne Warren. Each performer has his or her moments to shine.

Chris Jackson- no surprise- has a real feel for R & B. Al Kooper’s “I Love You More Than You’ll Ever Know” showcases a moody warble and the squeeze/push of expression best employed for the genre. His tenor slides up as if greased. Wah-wah horns and an alto sax carry the number. Sam Cooke’s “A Change is Gonna Come” emerges less gritty than usual, but soulful. Jackson’s movements are tight, as if jerked by the impact of certain lyrics. He exudes cool.

Jessie Mueller’s genuinely original arrangement of “Goodbye Yellow Brick Road” (Elton John/Bernie Taupin) is the highlight of the evening. One of several songs tonight whose treatment by The Pops is as subdued as I’ve ever heard them, it begins with only piano and Mueller’s pure, plaintive vocal. Strings come in; phrasing is elongated emphasizing wistful lyrics. This one resonates. Mueller also inhabits “Both Sides Now” (Joni Mitchell) which arrives with palpable sensitivity. There’s a small, organic shrug on “…it’s cloud’s illusions I recall…” drawing us in. Her pristine voice wafts high or cottony. Solo cello embellishment is utterly lovely.

Will Chase delivers a robust “Ring of Fire” (June Carter/Merle Kilgore) as a hoedown with the taste of Mariachi brass. His Kentucky accent feels at home. John Lennon’s “Imagine” is uncluttered, rather thin, but sweet. I find this performer sincere, but stiff without the character direction he’s given in musicals.

Adrienne Warren, another r & b maven, unearths a sob in her voice as if it comes completely natural to her. Alicia Keys’s “If I Ain’t Got You” is straight from the hip. Warren literally leans into the lyric. “If I ain’t gotcha with me baybabahahahabeeee…” she sings. In Act II, the vocalist demonstrates range by offering an Adele song sung from her chest and one by Aretha which emerges from her throat. You can hear the interesting difference.

All the artists take vocal turns for Stevie Wonder’s “Sir Duke” to which the audience immediately starts clapping time, a bouncy “Ain’t No Mountain High Enough” (Nickolas Ashford/Valerie Simpson), and Carol King’s iconic “You’ve Got a Friend,” an appropriate finale.

Songs, one gathers, were selected by vocalists without particular cohesion. The evening provided a raft of memories for some of us and a varied glimpse of the times for others.

Opening Photo:  Chris Jackson, Jessie Mueller, Will Chase, Adrienne Warren

Carnegie Hall presents
The New York Pops
You’re Got a Friend: A Celebration of Singers and Songwriters
Steven Reineke- Musical Director/Conductor
April 21, 2017
NY Pops 
34th Birthday Gala Tickets now on sale for May 1, 2017

Shuffle Along – Or The Making of The Musical Sensation of 1921 And All That Followed


An Appreciation

Pound for pound this musical showcases more talent than half the new productions on Broadway combined. Almost every superb black performer you might recall from recent years of theater and music is on this stage.The artistic team is crackerjack.

Shuffle Along

Brandon Victor Dixon and Joshua Henry

Critical voices have been raised in regard to the piece’s two hour forty minute running time to which I respond, yes, it could’ve been shorter without losing a whit of pith or entertainment value, but so what? Journalists and historians have also weighed in on George C. Wolfe’s decision to downplay such things as the application of blackface, on-the-road segregation, and theatrical naysayers. When important, of-the-time-author Carl Van Vechten denies the musical’s place in future collective memory, we realize a cultural response which is not otherwise emphasized.

As we see glimpses of blackface, exposition there seems missing. Otherwise, it’s a case of not being all things to all people.  (An attempt at rounding up history occurs with biographical epilogues.)

Shuffle Along

Brandon Victor Dixon and Audra McDonald

Noble Sissle and Eubie Blake met in 1915. As The Dixie Duo, they were the first negro performers to eschew blackface. The collaborators provided songs for the musical in question and respectively had long, successful, musical and theatrical careers. Producer/Performers F. E. Miller and Aubrey Lyles became friends as students and then a vaudeville comedy team. They both produced and performed in this 1921 show (here, in traditional blackface to which, one would have thought, their partners might’ve objected), afterwards mounting and writing others.

Sissle, Blake, Miller and Lyles encountered one another at an NAACP benefit where the vaudeville team performed a sketch called ‘The Mayor of Jimtown.’ Finding themselves likeminded, the four decided to turn it into a show about a small town election, creating the first all black musical to viably compete with Broadway productions.

Shuffle Along

Adrienne Warren, Brian Stokes Mitchell, Billy Porter, Audra McDonald and The Ensemble

After a grueling, squabbling hand-to-mouth tour, Shuffle Along landed at an off the grid West 63rd Street Theater without an orchestra pit, where, to everyonelse’s surprise, it ran 500 performances. It wasn’t that its flimsy book or staging were innovative, but rather that this black cast and creative team showcased energy, ebullience, and talent as skilled as anything on 42nd Street. The landmark production nurtured young performers like Josephine Baker, Florence Mills, and Paul Robeson, revising expectations and opening the door to black revues outside of Harlem.

Brian Stokes Mitchell (F.E. Miller) not only returns to The Great White Way with bankable, resonant vocals and signature style, he tap dances! Billy Porter (Aubrey Lyles), last seen cavorting in Kinky Boots, sings, dances, displays terrific comic flair without regressing into parody and, turning serious at the last, brings it home.

Shuffle Along

            Joshua Henry, Brandon Victor Dixon, Billy Porter, Brian Stokes Mitchell,                   Richard Riaz Yoder

Brandon Victor Dixon of the musical Motown, is utterly charming as the pixilated, two-timing Eubie Blake. Dixon taps, sings, and acts with naturalness that allows us to excuse the character’s weaknesses much as Lottie does during their on again/off again affair. His reaction to a mouse is priceless. Joshua Henry (Noble Sissle), who was unequivocally great in The Scottsboro Boys, here lightens up without losing an iota of authenticity or grace. And oh, that voice!

Adrienne Warren (Gertrude Saunders/Florence Mills) delivers a sassy performance with bright-eyed finesse and nimble footwork while veteran Brooks Ashmanskas plays a slew of roles, each with pitch perfect comic timing and precision dancing he makes look ridiculously easy.

Shuffle Along

Audra McDonald

As to the visibly pregnant Audra McDonald (go quickly lest you miss her!), she’s simply magnificent. Fully inhabiting Lottie Gee who was herself, a regal cut above the environment in which she achieved fame, the artist’s vocals, acting, and yes, tap dancing, are a veritable joy to behold.

Daryl Waters’s Music Supervision, Arrangements & Orchestrations are immensely clear and rich. (Sound Design-Scott Lehrer) Choreography by Savion Glover is exuberant, loose-limbed, gorgeously synchronized, and feels fresh, though its underpinnings reflect the era. Company numbers are a master class. The visual creative team excels with Ann Roth’s Costumes and Mia M. Neal’s Hair Design original, yet accurate stand-outs.

Shuffle Along

Adrienne Warren and The Ensemble

If you’re anything of a theater-goer, you know there’s been a fracas about whether the musical is a revival or an original, the latter putting it in competition for the juggernaut called Hamilton. In the opinion of this journalist, book writer George C. Wolfe’s framing device as indicated in the show’s subtitle, should have set it firmly in the latter category.  Though there are lots of recreated numbers, the story of its artistic collaboration provides vertebrae. Alas, my view is among a minority.

Photos by Julieta Cervantes
Opening: The Ensemble

Shuffle Along
Or The Making of The Musical Sensation of 1921 And All That Followed
Music and Lyrics by Noble Sissle and Eubie Blake
Original Book by F.E. Miller and Aubry Lyles
Book by George C. Wolfe
Directed by George C. Wolfe
The Music Box Theater
239 West 45th Street