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.
A good show is a good show. Colored Lights, directed by Eric Michael Gillett, was originally performed at The Algonquin’s Oak Room in 2007. It’s cohesive, well written, and personal to performer KT Sullivan who dives into multiple genres like a happy salmon knowing where she’s going. Intermittent parlando is effective, anecdotes charming.
Harvey Schmidt/Tom Jones’ “Try To Remember” provides soft intro into recollections of the artist’s years as an actor. “In the theater, a season can be a lifetime and a lifetime can be a season,” she quotes acerbic critic Addison DeWitt from All About Eve. A 1986 Cleveland production of The Boys From Syracuse during which Larry (Lorenz) Hart straggled in to supply late lyrics on a bar napkin, gave Sullivan the opportunity to sing “Falling in Love With Love” (written with Richard Rodgers) for director George Abbott. Here she performs it perhaps more wisely, looking back, as if bemused. We sway.
“I’m Just a Little Girl from Little Rock” (Jule Styne/Leo Robin- Gentlemen Prefer Blondes- in which she played Lorelei ) showcases the vocalist’s familiar, wide-eyed innocent persona flirting masterfully with audience. The next number alternates caustic reviews out of Diana Rigg’s collection ‘No Turn Unstoned’ with verses from the eclectic “Well, of All the Rotten Shows” (Irving Berlin –Face the Music). A perfect sequence. Jon Weber contributes vaudeville piano.
Three sincere, deftly understated ballads culminate in “And I Was Beautiful” (Jerry Herman- Dear World.) Sullivan is so credible she almost blushes. Wistfully telling us she would’ve liked to have been cast in the Angela Lansbury role, she quips, “I don’t play girls anymore. I find it- cleansing.”
“Autumn in New York” (Vernon Duke – Thumbs Up) arrives a wolf in sheeps’ clothing. Sullivan starts by melodically relishing each conjured image. Suddenly the number erupts full-fledged, complex jazz as Weber’s finger-flying instrumental. I find this and the vocalist’s attempt to resume above it, jarring.
Musically difficult theatrical turns include “Barbara Song” (Kurt Weil/Bertold Brecht- The Three Penny Opera) which appears to be a wink-wink parody and the more successful, quite moving “Dividing Day” (Adam Guettel- The Light in the Piazza.) While I don’t believe the emulated character in Stephen Sondheim’s “Who’s That Woman?”(Follies), a sharp, poignant “One Halloween” and soaring, take-me-or-leave-me “But Alive” are splendidly presented (Charles Strouse/Lee Adams-Applause).
Dick Gallagher’s adroit arrangement of “Another Op’nin, Another Show” (Cole Porter-Kiss Me Kate) and “There’s No Business Like Show Business” (Irving Berlin-Annie Get Your Gun) is prefaced by Sullivan’s signature Mae West turn. Phrases are vividly savored in this slower mounting. When the second tune erupts like a brakeless train, it’s come from somewhere.
With reference to husband Steve Downey and a brood of grandchildren, Sullivan declares her life rich, “and yet…” leads us into four bars of “Much More” (Harvey Schmidt/Tom Jones- The Fantastiks), which in turn, opens sluice gates to “Colored Lights” (John Kander/Fred Ebb-The Rink). The beautiful title song is given its due with evocative phrasing and lush accompaniment. Weber almost folds onto the piano keys.
New to this iteration of Colored Lights is a mash-up of 29 songs from 1929. A cavalcade of clever connections pepper the stop/start medley with not a stitch dropped. Impressive. Sullivan and Weber have reached a point where they finish each other’s sentences.
Photos by Maryann Lopinto
KT Sullivan: Colored Lights Directed by Eric Michael Gillett Musical Direction/Piano- Jon Weber The Laurie Beechman Theater 407 West 42nd Street Venue Calendar Additional Shows: August 16, September 13, October 15, 2017
“I wanted to be surrounded by women I’ve known most of my life, who I’ve worked with and loved,” declares Walter Willison. This show is doubly personal for the host/writer/director. Not only does it fall on his birthday, but the performer knew and worked with Wright and Forrest over 15 years. (He peppers the concert with illuminating facts and anecdotes.) This retrospective was the single unrealized project on the collaborators’ bucket list when they passed.
Robert Wright (1914- 2005) and George Forrest (1915- 1999), musical theater composer-lyricists, worked together over 70 uninterrupted years beginning in high school. At 14 and 15 respectively, Wright had accompanied Ziegfeld’s Helen Morgan in an illegal speakeasy and Forrest had entertained aboard cruise ships. Setting their caps for film, the two played clubs from Miami to Los Angeles landing a job at MGM as songwriters. “In those days,” Willison reminds us, “You had to go to one of those beautiful, gilded movie palaces” to hear the music. He sighs.
An evocative “A Bag of Popcorn and a Dream” (also the name of a CD celebrating the partners’ oeuvre), begins a parentheses of Hollywood-era songs exuberantly performed by our host, a showman to his toes. It was “The Donkey Serenade” that cinched the writers’ status with Louis B. Mayer recognizing success when he saw it. There’s a song in the air/But the fair senorita doesn’t seem to care/For the song in the air/So I’ll sing to my mule…Go figure. With music by Rudolf Friml and Herbert Stothart, the partners took Mayer’s advice and adapted classical material.
George “Chet” Forrest, Walter Willison, Robert Wright, 1989 Tony Awards (Photo by Henry Grossman)
Song of Norway was based on the life of Edvard Grieg. Attractive, young vocalists Katie Dixon, John Drinkwater and Matthew Drinkwater rendered “Hill of Dreams” from the show. For most of Janet -they called her Janet, not Jeanette-MacDonald and Nelson Eddy’s tunes, Wright and Forrest refashioned folk songs.
As many of their Los Angeles Civic Light Opera musicals traveled to Broadway, Wright and Forest followed. In New York, they also penned special material for The Copa- cabana, a venue one would hardly associate with the team. Nightclub selections are offered by Lee Horwin and Marcy DeGonge Manfredi whose droll “I’m Going Moroccan for Johnny” gives us a glimpse into the collaborators’ humor: I’m facing the East/And salaaming all over the place…
Kismet, adapted from the music of Alexander Borodin, was reviewed as having “not a song in the whole show.” Its score included “Baubles, Bangles and Beads,” “This Is My Beloved,” and “Stranger in Paradise.” Willison and Heather MacRae offer a medley from the show- the duet balances enthusiastically-while DeGonge Manfredi performs “Beloved.” Kismet was followed by Kean, Timbuktu! (another take on Kismet), and Broadway’s first Anastasia represented by Katie Dixon’s “Think Upon Something Beautiful” with the singer more conscious of notes than lyrics.
Diane J. Findley
Vocalist Diane J. Findley, whom Wright and Forrest appropriately recognized as adding class to any vehicle, sings (and acts) two numbers. “Has Madame Had It?” was written for Marlene Dietrich hoping she would star in At the Grand, the first iteration of what would later become Grand Hotel. Part monologue, part song, it arrives phrased like musing. Has Madame had it?…Is Madame slipping?…Should Madame chuck it?…Findley asks hesitating, one eyebrow aurally raised.
The unquestionable highlight of the afternoon is A Grand Hotel Suite. The musical, with the help of composer/lyricist Maury Yeston and director Tommy Tune, scored more than 1,000 performances and a Tony nomination. It was Wright and Forrest’s last collaboration. Three of the show’s original cast members successively take the stage.
Lynnette Perry, Karen Akers, Liliane Montevecchi
Lynnette Perry appealingly resumes her role as pretty young typist, Flaemmchen, with “Flame Girl” describing film star aspirations, a song that was cut in Boston. Perry’s charming gestures and low key delivery land well. Karen Akers, who played Raffaela, confidante/secretary to the famous ballerina, performs the difficult “What You Need” with unexaggerated investment, palpably creating the character. And the great Liliane Montevecchi (as ballerina Elizaveta Grushinskaya) inhabits Maury Yeston’s moving “Bonjour Amour.” This artist’s signature flair and credibility are bracketed by wicked, onstage humor.
We close with a lively version of “We’ll Take a Glass Together,” the right song with which to exit in cheer and end this season’s Ziegfeld Society’s shows-which resume in September.
Unfortunately, we also leave with ringing ears. Consistent over-loudness, often inappropriately stressing lyrics and voices, may have been a boon to those hard of hearing, but the rest of us (and performance) suffered.
Finale: Back Row-MD Jose Simbulan, Stage Manager Mark Lord, John Drinkwater, Matthew Drinkwater, Executive Producer Mark York
Front Row: Katie Dixon, Heather MacRae, Diane J. Findley, Karen Akers, Liliane Montevecchi, Writer/Director Walter Willison, Lynnette Perry, Lee Horwin, Marcy DeGonge Manfredi
Photos by Steve Friedman Opening: Walter Willison
The Ziegfeld Society presents We’ll Take A Glass Together!: The Songs of Wright and Forrest From MGM to Grand Hotel Hosted, Written & Directed by Walter Willison Musical Direction/Special Arrangements/Piano – Jose Simbulan Lang Hall Hunter College June 24, 2017 The Ziegfeld Society
At the culmination of NYC Pride week, four 2017 MAC Award nominated vocalists: Celia Berk, Sally Darling, Josephine Sanges, Lisa Viggiano and the year’s winner, Meg Flather, gathered at Don’t Tell Mama to present songs that reflected the times and title theme. Mutual admiration was pronounced. The concert benefited Trinity place Shelter LGBTQ Youth Programs.
Effectively opening off stage with Carly Simon’s “Let the River Run”, each vocalist introduced the next in a medley of songs rife with hopeful anticipation. (Except for the Gershwins’ “By Strauss.”) The room’s collective mood seemed to swell.
Josephine Sanges; Sally Darling
Josephine Sanges’ waltzy “Pure Imagination” (Leslie Bricusse/Anthony Newley) was joyfully sincere. Phrasing emerged like longlined skating. Even scat glided…twirled and giggled. An understated, utterly sympathetic “Take Me to The World” showed a different aspect of the vocalist’s interpretive talent. (Stephen Sondheim’s Evening Primrose) Hands at her sides, looking into our eyes, Sanges reached the audience. In complete contrast, John M. Cook’s original, unexpected arrangement of “Ding Dong the Witch is Dead” (Harold Arlen/ E.Y. Yip Harburg) …Oh we oh, huh oh oh…with snippets of other songs from The Wizard of Oz, brought out the jazz baby in full flower.
Sally Darling offered Noel Coward’s “20th Century Blues” in apt, deadpan tandem with “Strange Days” (Amanda McBroom and Michele Brourman.) Darling is all vibrato, enunciating like an actress. …If you don’t like where we’re going/Honey, grab an oar and row…she sang. Right on. Kander & Ebb’s “What Would You Do?” and Sondheim’s awkward “Ah, But Underneath” were committed but confined-the performer shut out her audience.
Celia Berk; Meg Flather
Don Tucker’s very funny “French Song” was enacted by Meg Flather with flair. To hear the wry, ersatz French ride that lovely voice was a study in successful opposites. “Hush, Hush Hush”, a delicate song I found obscure out of context and “If” (Paula Cole/David Gates), riding rapid, staccato piano in opposition to lyrics followed. Flather’s own, MAC Winning number “Hold On Tight” (additional music John Mettam) bubbled over with good advice…Hold on tight/Breathe it in/Clear the mind of tomorrow…Sentiments were savored; octaves seamlessly shifted like tickling. Warmth flowed. With this last song, Flather looked back at her fans.
Despite a cold that added Lauren Bacall coloring to vocals, Celia Berk gave fine performances utilizing expressive parlando, innate skill with phrasing, and unabashed accessibility to the audience. Berk sang affectionate, well rendered geography songs with minimal, selective gestures. Her version of Stephen Sondheim’s “Sand”, a highlight, was like watching musical monologue- eloquent, nuanced, and palpably fostered by an appealing ssss.
Lisa Viggiano
Lisa Viggiano swung two American Songbook numbers, after which she shifted gears to offer Tim Di Pasqua’s “Three’s A Charm”, written as outreach to GLBT’s anti-bullying campaign. The song was one of that were two simple, stirring, and emphatically on target. ….One-feeling lighter/Two-getting brighter/Three-feeling better…Viggiano sang wholeheartedly in the first verse. The audience provided vocal counting the second lilting time around. It felt like a benignly lead mantra.
The second of these heady numbers, performed by the company, was Ann Hampton Callaway/Michele Brourman’s “Love and Let Love,” …No one tells the sun not to shine/Or tells a flower not to grow…Trust the hand that made us/Just the way we are…Five voices melodically rose in moving support of brother/sisterhood that should’ve been piped over Times Square.
In my opinion, too many numbers did not fulfill the show’s stated intention. Though these were no less enjoyable, a premise had been set. Overall, the concert was entertaining and sometimes inspiring. Jeff Harnar’s unfussy, evocative Direction added craft and style.
This should be an annual event.
Opening Photo: Left to right Celia Berk, Josephine Sanges, Sally Darling, Meg Flather, Lisa Viggiano
Together 2017 MAC Cabaret Award-Nominated Vocalists A Benefit for Trinity place Shelter LGBTQ Youth Programs With thanks to Sidney Meyer for donating the venue Musical Director John M. Cook Director- Jeff Harnar Don’t Tell Mama June 25, 2017 Venue Calendar
The Mabel Mercer Foundation’s annual summer concert celebrated composer Howard Dietz (1896-1983) and lyricist Arthur Schwartz (1900-1984), while including an unrelated roster of other writers. Relative newcomers and established artists presented jazz, cabaret, and musical theater interpretations out of what we call The American Songbook, which, despite suggestions to the contrary, continues to endure and evolve.
Arthur Schwartz was pressured into law by his family and admitted to the bar in 1924. By 1928, having moonlighted for years, he’d closed his office in favor of songwriting. Howard Dietz moved from advertising to MGM’s Vice President in Charge of Publicity, originating their iconic, roaring lion as well as the slogan “More Stars than there are in Heaven.” The composer wrote continuously throughout his alternate career. Collaboration began with The Little Show, a revue starring Libby Holman, Clifton Webb, and Fred Allen. The rest is history.
Howard Dietz and Arthur Schwartz (Wikipedia)
In her best, wide-eyed, faux innocent persona, the Foundation’s Artistic Director, KT Sullivan, opened with “Confession” from The Band Wagon.
Frank Dain’s version of “Penny” was utterly enchanting. (Songwriter/musical director/musician/board member and lifetime card-carrying, cabaret supporter Larry Elow.) Dain shimmered with ardor. The unfussy ballad goes straight to the heart with timeless appeal. Kathleen Landis – lovely arrangement, graceful piano.
“Make the Man Love Me” (Arthur Schwartz/Dorothy Fields) emerged genuinely sweet as rendered by Lauren Stanford. During an instrumental, the vocalist seemed to continue internal dialogue holding us captive. Piano-Jon Weber.
Frank Dain; Lauren Stanford
The Inimitable Sidney Meyer, who has the most articulate shoulders in the business, sang “Rainy Night in Rio” (Arthur Schwartz/Leo Robin) with iconoclastic, deadpan phrasing, impish facial expression, and the rousing help of the band’s “Ai Yi Yi!” chorus. A photographic finish. Piano-Jon Weber.
Danny Bacher and Alexis Cole, usually solo performers, symbiotically joined for three numbers with Cole at the piano and Bacher on soprano sax as well as duet vocals. “I’ll Buy You a Star” (Arthur Schwartz/Dorothy Fields) swung in with the ease of a languid hammock. “I Guess I’ll Have to Change My Plan” was insouciant rather than wistful. “You and The Night and The Music” showcased the artists’ extraordinary ability with scat. Someone find these people a supper club!
Alexis Cole; Danny Bacher
In his first appearance with The Mabel Mercer Foundation, Darius de Haas displayed well honed acting skill with the theatrical prose/poem “Trotsky in Mexico” (Renee Rosnes/David Hajdu). An original “Shine On Your Shoes” arrived like a slow-motion Fred Astaire turn, every word savored as if preaching gospel. Todd Firth-splendid, textural piano and arrangements.
John Wallowich’s “I Live Alone Again” was performed with rare restraint by Mark Nadler as stipulated by its author – first verse a lament, second in gleeful relief. The artist sold both with credibility. “By Myself,” adroitly including Jack Buchanan’s original spoken word, was a crie de coeur rather than familiar resignation. And, oh, the piano!
Mark Nadler; Marta Sanders
To my mind, this evening’s highlight was veteran Marta Sanders whose inhabiting lyrics, flexible timbre, and arch humor created a show unto itself. The gypsy “Come A-Wandering With Me”(Mark Nadler-emphatic piano), cue atmospheric stage smoke, was followed with equal fervor by John Wallowich’s amusing “Warsaw,” (John McMahon-piano), an impeccably timed in-one, deftly utilizing a babushka.
Sullivan then closed with “Lovely,” for which she played matchmaker to a forgotten composition by Howard Dietz and Bart Howard’s lyrics, and, perhaps the best known Dietz and Schwartz song, “Dancing in The Dark” materializing a chanteusey, soprano waltz. Jon Weber-piano.
Finale
Also featuring: exuberant Seth Sikes; Celia Berk’s poignant “Something to Remember You By” rife with implicit “please”; an underwhelming Margi Gianquinto; the polished Sue Matsuki with a clever, if seemingly out of place number on which she collaborated; a bright, sweetheart rendition of “Rhode Island is Famous for You” from Karen Oberlin; Laurie Krauz and Daryl Kojak’s extremely original interpretation of “Alone Together” with massaged vocal, wordless singing, and Valkyrie delivery; the sincere Gary Crawford; and Mauricio Bustamante’s rendition of John Wallowich’s “Bruce.”
Musicianship was uniformly superb.
Performance Photos by Seth Cashman
Opening: Jon Weber; KT Sullivan
Songs by other than Dietz and Schwartz are noted.
Recommended Reading: Dancing in The Dark by Howard Dietz (published in 1974)
That’s Entertainment: Dietz & Schwartz and Friends Music Director: Jon Weber Saadi Zain-bass, Sean Harkness-guitar, David Silliman-drums. Weill Hall June 20, 2017 The Mabel Mercer Foundation
First, necessarily, comments on the controversy: Theater is a living, breathing art form. It has always reflected and reacted to its time. Currently, LGBT and apocalyptic themes are joined by a proliferation of stories with immigrant, and Middle East discourse/illumination. Religious freedom, women’s rights and segregation have ruled the stage in waves.
As you’ve undoubtedly heard, in this, the Public Theater’s current iteration of Shakespeare’s Julius Caesar, the central character is meant to physically resemble Donald Trump and his wife to sound like Melania. Why not?! The classic drama has been produced with Caesar portrayed as Mussolini in Orson Welles’ anti-fascist version, an unnamed African dictator for that of the Royal Shakespeare Company, and, in 2012, President Obama at Minneapolis’ Guthrie Theater. None of these interpretations provoked protests. That original text resonates in each rendition is sufficient reason to restage the piece.
Tina Benko, Gregg Henry, Teagle F. Bougere, Elizabeth Marvel
Oscar Eustis, Artistic Director of The Public Theater, chose Caesar for relevance and, in his own words, as “a warning parable.” This examination of how far a people may go to protect democracy from a charismatic demagogue clearly shows radical consequences of anarchistic violence rather than advocating it. A staff driven by greed and personal advancement (sound familiar?) gets just desserts. Brutus is the only patriotic, if misguided conspirator, a fact acknowledged but not celebrated. Fatalism sweeps the stage like sirocco. Chaos ensues.
The play itself is problematic. While much proves as lively as it is timeless – “Who is it in the press that calls on me?” is from bona fied text (the audience laughs), a long, dense scene in which Brutus and Cassius disagree on plans could put anyone to sleep. Attention dips for a time after Marc Antony’s spectacular death bed (here, a gurney) oration.
Corey Stoll and John Douglas Thompson; Nikki M. James and Corey Stoll
Julius Caesar (Gregg Henry, with inadequate bombastic presence) greets adoring Rome with wife Calpurnia (Tina Benko, palpably seductive; great Slavic accent) preening by his side. At one point, he bats her away, a gesture that could easily have been played in reverse had the director wanted to be more partisan. Though he refuses a crown, it’s obvious Caesar’s fingers itch.
Fearing the loss of democracy, members of The Senate plot assassination at the instigation of Brutus (Corey Stoll, who underplays so much, it feels like we’re watching a disgruntled bureaucrat, not a soldier or statesman.) “He scorns the base degrees by which he did ascend,” Brutus declares of Caesar. (Currently applicable?)
Of this bunch, Teagle F. Bougere’s Casca is solidly credible and John Douglas Thompson (Cassius) provides one of two masterful characterizations every time he’s onstage. Thompson is vital, impassioned; his voice deep and invested, phrasing accessible yet poetic, presence shimmers with power. A soldier to his toes.
Corey Stoll and The Company
Conspirators come and go at Brutus’s home prompting questioning concern by his wife Portia (an excellent Nikki M. James) who tries unsuccessfully to seduce her husband into telling her what’s going on. Calpurnia almost has better luck when, fearing the portent of a dream, she attempts to get Caesar to blow off the Senate in favor of cavorting with her, initially in a gold bathtub (inspired). With convincing reinterpretation Decius (Eisa Davis) changes his mind back, however. It’s here we first meet Marc Antony (Elizabeth Marvel), seemingly drunk and wearing shades (go figure), arrive to accompany her leader to the gathering.
You know the rest. Caesar is stabbed multiple times – here, first in the back, then physically pulled over the top of a podium to the floor and pierced by all. Brutus is the last and apparently most reticent, appearing directly after, glazed as a deer in headlights. A couple of actors have difficulty getting daggers out of pockets. One participant photographs the body on a Smart Phone.
Antony is devastated. “She” secures permission to address the public after Brutus’s brief announcement of Caesar’s death. (Pronouns change when applicable.) Marvel, a second terrific performance, looks and sounds like Sissy Spacek replete with Texas accent. The actress roils then erupts. “Friends, Romans, countrymen, lend me your ears…” One of Shakespeare’s great Machiavellian speeches, it sounds as if in support of Brutus & Co while denouncing them with honeyed words, inciting the crowd. Nuanced writing moves seamlessly from defeat to empowerment to challenge. Marvel wonderfully emotes from her gut.
Elizabeth Marvel and The Company
The rest is demonstrations, Civil War, firing squads, and suicides. Battles are well staged. With civilians calling out, then running on stage from all over the audience, energy high and movement constant, violent pandemonium is evoked despite lack of much choreographed fighting. (NYC sirens often add.) Political and psychological parallels are many. Alas, the show’s incredibly short run doesn’t allow more of you to find them for yourselves.
Director Oscar Eustis moves his large cast with strategic skill immersing the audience, manipulating tension, creating sweep. Two-handers create palpable intimacy. Brutus and his boy Lucilius (Tyler La Marr) are as profoundly personal as he and Cassius or he and Portia. When laughter rises from the bleachers out of recognition, it fades to allow the production to continue.
David Rockwell’s Set looks as if it was designed by committee members each of whom stuck to his own vision, which, judging by his organization’s current ubiquity, may be the case. Too many styles deny the play gravitas as well as cohesion. Additionally, while a poster-plastered, graffiti-filled wall supporting a large number of floral tributes is timely and the Senate chamber looks splendid, inside Brutus’ tent resembles a lady’s sewing room and various Photoshopped panels evoke high school productions. Oh, and there’s the giant eye, a representation of Big Brother?
Most of Paul Tazewell’s contemporary, non-distracting Costume Design works well, though street cops without weapons or communication equipment become lite police. (His Tactical Squad is frighteningly well outfitted.)
Jessica Paz deserves double call out for Sound Design. Not only does she conjure vociferous mobs and not so distant violence, but every player speaking from the audience (and there are many) is distinctly heard. Original Music and Soundscapes by Bray Poor are cinematic.
Photos by Joan Marcus Opening: Greg Henry and The Company
Free Shakespeare in the Park/ The Public Theater presents Julius Caesar by William Shakespeare Directed by Oscar Eustis The Public Theater In the park: A Midsummer Night’s Dream – July 11-August 13, 2017
Thirty-four years into musical marriage, Jeff Harnar and Alex Rybeck epitomize fertile affinity. Both artists continue to grow while playing off one another with the kind of secret language of long time couples. This is evident even in the revival of a 2000 Firebird Cafe show which emerges timeless. (The original CD is available.)
Sammy Cahn (1913-1933) né Samuel Cohen (no relation) put more words into the mouth of Frank Sinatra than any other lyricist. In addition to hit parade songs, he wrote films and musicals garnering 26 Academy Award nominations, four Oscars, and an Emmy. Listening to Cahn is like spending time with an old friend.
Sammy Cahn
After a brief overture, Harnar begins with the iconic “All the Way” (music-James Van Heusen), his voice full, rich, unwavering. A 1950s arrangement of “Teach Me Tonight” (music-Gene De Paul), riding on finger snaps and bowed bass, gives the vocalist opportunity to duet with Rybeck using startling falsetto of which he’s apparently fond. Teach me- do-do-ten-do-do-do, he sings hopefully while sax loops around phrasing.
A tender “It’s Magic” (Jule Styne) – eyebrows rise on the second word – emerges with music box piano and skating flute. Harnar seems besotted. “I’ll Never Stop Loving You” (music & lyrics Nicolas Brodsky/Sammy Cahn) showcases mindful bass, ardent piano and the vocalist’s sincerity with ballads. Both were written for Doris Day films. Intermittent patter here is light, informative.
Other engaging serenades include “I Fall in Love Too Easily” (music & lyrics Jule Styne/ Sammy Cahn) and “I’ll Always Miss Her When I Think of Her”…and I’ll think of her all the time… (music-James Van Heusen.) The first, with a 3am-mellow-sax intro, finds Harnar reflective. …I fall in love (pause) too terribly hard…he reminds himself with a sigh, perched on what might be a bar stool. Every sentiment is convincing.
Three Sinatra hits written with James Van Heusen bounce in with infectious feel-good attitude. Snapped fingers, cool bass, and teasing flute like a backstroking Disney bird freshen “Come Fly With Me,” here, a tempting invitation. During “Ain’t That a Kick in the Head,” Harnar practically emits bubbles. For “Tender Trap,” he’s a wide-eyed ingénue. Honestly. Adorable. On stage movement and gestures are minimal, easy, appropriate. The performer is at home up there, engaging his audience with warmth and skill.
A World War II medley with Rybeck and Egan joining Harnar’s vocals was, for me, a highlight. The three of them plus whomever should do a show comprised of these and other selections. Though “Saturday Night” …is the loneliest night of the week…(music-Jule Styne) is a bit smiley for its lyrics, the other three selections are pitch-perfect.
A plaintive “I’ll Walk Alone” (music-Jule Styne) would’ve captured the heart of every woman waiting for her fella to come home. “Bei Mir Bist Du Schoen…Means That You’re Grand” (Sholem Secunda/Sammy Cahn & Saul Chaplin) with one of the best vocal arrangements I’ve heard of this, is irresistibly spirited. By “It’s Been a Long, Long Time” (music-Jule Styne), the artist has us in the palm of his hand. “Everybody sing!” he encourages, and we do.
Caveat: One might easily do without “Everybody Has a Right To Be Wrong,” a wordy monologue written for that singing fool, Julie Harris.” (music- James Van Heusen for Skyscraper, a show one critic called “Floor Scraper.”)
We close with a rendition of “Time After Time” (music-Jule Styne) –piano creating figure-eights, that embraces the room (another splendid vocal arrangement) and “My Kind of Town (Chicago Is)” (music-Jimmy Van Heusen) in jubilant razzamatazz mode.
This is a real taste of the wonderful Cahn – fastidiously arranged, written, directed, and performed by adroit musicians all of whom appear to be having as good a time as the audience. The urbane Jeff Harnar is in first rate voice.
Show Photos by Maryann Lopinto
Photo of Sammy Cahn- Wikipedia
Jeff Harnar sings Sammy Cahn All The Way
Barry Kleinbort- Director
Alex Rybeck- Music Director
Jered Egan-Bass & back-up vocals, Mark Phaneuf- Sax/Flute
The Metropolitan Room
34 West 22nd Street Venue Calendar
Every now and then one encounters a production so well conceived and executed that it seems as if creatives share a single imagination. The densely written, highly literate Whirligig is only actor/playwright Hamish Linklater’s second effort, yet it arrives with the gusto and definition of a practiced hand. Its intricately woven story is akin to a good Sherlock Holmes caper with successive revelations. The message is clear, while individuals wisely eschew simplicity.
Alcoholic actor Michael (Norbert Leo Butz) and his ex-wife, manic depressive Kristina (Dolly Wells) have come together after 7 years, shattered by the imminent death of their 23 year-old daughter Julie (Grace Van Patten). Insidious drug addiction has lead to disease that could have been halted if those around her had been paying attention.
Dad is uber-articulate and charming when not angry drunk. Julie, once one of those bright pretty, young women with endless potential, shares his dark sense of humor. She’s a daddy’s girl. Kristina, though tightly wound, is oddly more grounded than either, despite her (now presumably medicated) illness. She provided no example when needed.
Opening at the girl’s hospital bed, we zigzag through time connecting seemingly peripheral people to culpability they share. Almost everyone on stage could have helped if not prevented her death. These include:
Patrick (Noah Bean), Julie’s attentive doctor, looks after after his maladjusted, housemate brother Derrick (Jonny Orsini) in addition to patients. Each is upset at the fatality for secret and surprising personal reasons. Greg (Alex Hurt) runs the local tavern (a job Patrick had before him). His wife, Trish (Zosia Mamet) was Julie’s best friend and deepest influence growing up. An unspecified breach separated the young women.
The last participating character, Mr. Cormeny (Jon DeVries), was a teacher to all the young people now in their twenties. He holds up a bar stool eloquently pontificating. Cormeny might be considered superfluous, but is effectively employed to reveal plot tidbits, character reflection, and to ask questions for the audience. Butz and DeVries deliver two of the most realistic, nuanced inebriates I’ve seen onstage- no small feat. Michael’s been on the wagon. Julie’s illness sent him back to the bottle. This familiar watering hole acts as alternate arena for exorcism/disclosure.
Characters are well drawn and skillfully manifest. Only Patrick is less distinct, perhaps because his involvement is the most surprising and Linklater doesn’t want us to take notice. Noah Bean (Patrick) does a yeoman like job in the single a role without vigorous dramatic turn.
Alex Hurt’s Greg is thoroughly straight arrow and believable. Jonny Orsini (Derrick) is slightly over the top when explosive, but later, appealingly tenuous and sympathetic. Jon DeVries makes the most of Mr. Cormeny creating Linklater’s Shakespearean outsider with humor, shading, and focus. Dolly Wells shows us the loosey goosey, accepting Kristina of early marriage and a taut, self recriminating mother with equal conviction.
Grace Van Patten is an artist who understands subtlety. Julie might’ve appeared an innocuous young woman caught up in her parents’ failings. Instead we see an evolution: coltish love and sweetness, stubborn, self destructive aggression, brief reaching out, and exhausted resignation. There’s a moment when, having played herself in the past, the actress puts back on her hospital gown and we observe her deflate before getting back under covers.
Zosia Mamet’s Trish takes a little getting used to and, as written, engenders less empathy. We see a tough, curt girl and then barely changed, sullen woman so different from her BFF one is repelled but gleans post adolescent attraction. An early conversation with Kristina before the former leaves and one later when she assures her friend’s mother “Drugs are fun, it’s not your fault” bring out the best in the actress. (Why, one might ask the playwright, did Greg marry her?)
In my book, Norbert Leo Butz can do anything. The actor is equally at home as the leading man in a singing/dancing Broadway musical or inhabiting a complex persona. Butz discloses on-stage identity with masterful timing and wonderful physical touches. Prowess is delivering not just a sexy dance with the adored Kristina, but the way his hands absently touch her during dialogue; not only meandering soused exposition that rises as if occurring in real time, but a moment when he makes a beak of a party hat and pecks at a drink. Every theatrical gesture, joke, fall and cry is believable.
Director Scott Elliott has done an inspired job of controlling both visual and emotional ebb and flow. Timing is pristine. The company is cohesive and focused. Everyone listens. ‘A difficult and successfully realized production to which attention should be paid.
Derek McLane’s immensely evocative, revolving set is integral to the play’s inherent meaning and fluency. Large, horizontal tree branches, especially one onto which people climb and sit, work wonderfully. I admit to not understanding a back wall of high, intermittently lit windows in a suburban neighborhood.
Terrific lighting by Jeff Croiter allows scenes to overlap creating psychological bridges. We are, in fact, led.
Photos by Monique Carboni
Opening: Grace Van Patten; Zosia Mamet
Jonny Orsini, Noah Bean
Dolly Wells, Norbert Leo Butz
Norbert Leo Butz, Alex Hurt, Jon DeVries
Zosia Mamet, Jonny Orsini
The New Group presents The Whirligig by Hamish Linklater
Directed by Scott Elliott
Pershing Square Signature Center 480 West 42nd Street
Through June 18, 2017
A Fringe Festival-like production on steroids, this loopy musical revolves around indie, electronic musician/composer and single mother Kat (Val Vigoda) connecting from Brooklyn via Skype to admittedly dead explorer Ernest Shackelton (Wade McCollum) in transit to the Antarctic. This is me, this is my gear, and this is live looping… she sings, video posting on a dating site while expertly playing electric violin. (Live looping seems to be the theater device of the season.) Shackelton responds to her ad: I have journeyed through space and time to be with you.
I admit the above made me wince, but after a bizarre inclusion of “It’s a Long Way to Tipperary,” material becomes entertaining and achieves momentum. The explorer finds Kat’s music an inspiration and, having been trapped in the ice seven months, needs all he and his men can get. Kat’s been awake 36 hours. Is she hallucinating?
When Shackleton steps through her New York “Frigidaire” their two worlds overlap. She hesitantly joins him in Antarctica (off a raised platform into surrounding snow) where the two eventually lead his men to safety. Acknowledgment that the crew eats their sled dogs “and then each other” for sustenance passes like a footnote. His offering whale blubber to people in the front row and lyrics like …adrift under wet reindeer skins 13 months… add color.
Fatalist Kat and optimist Ernest view life differently, though finding herself more able and courageous than presumed, nourished by admiration, she inches towards brighter perspective. At one point, our “bad ass” heroine even goads a weakening Shackleton on. An incongruous, tongue in cheek, western ditty recognizes similarities in insecure, but worthy life choices: …Don’t you give your money to no explorer… Don’t you give your money to no musician…
One actually gets a sense of the wretched adventure before us.
“Real life” intermittently intrudes with a telephone call or Kat’s baby (needless to say Ernest is great with the infant), but doesn’t circle back till the romantic figure’s departure “you’re married?!” and the baby father’s arrival.
Though Joe DiPietro’s Book periodically suffers from trying too hard to be funny and the use of swear words naively expected to shock, most writing knits in well. Making brief appearances, Kat’s nasal-gay boss and deadbeat, stoner, baby father (played by McCollum) would both be better served without cliché attributes.
Music and lyrics are of wildly different quality within this 90 minute saga. Bookended by ungainly, repetitive wording (Val Vigoda) and meandering music (Brandon Milburn), songs at its center are catchy, rousing – especially several sea shanties and a country-colored tune, and ably tell the story. Looping is focused and effective.
Actors Val Vigoda – electric violin and Wade McCollum – banjo are both fine musicians and strong vocalists. Vigoda exudes doubt, pluck, and defiance with naturalistic acting. McCollum’s bravado and wink-wink humor balance the life threatening voyage with farce.
Director Lisa Peterson skillfully leads us from Brooklyn to the Antarctic and back navigating interruptions. Kat’s contemporary demeanor contrasts adroitly with Ernest’s cheerful, outsized ego. Music is nicely integrated. Danger is adeptly conjured.
Production Designer Alexander V. Nichols employs extensive archival footage from the actual expedition. His rough, seemingly spit and glue platforms work well despite all the equipment and wiring.
Rob Kaplowitz’s Sound Design is an evocative asset.
Ernest Shackleton Loves Me sometimes challenges patience, but taking the ride is not without rewards.
This piece singles out the third of Shackleton’s voyages to the region, a 1911 crossing of Antarctica from sea to sea via the pole. When the ship Endurance became trapped in pack ice (and then crushed), its crew was forced to camp on sea ice. Using lifeboats, the men made their way first to Elephant Island and then 720 nautical miles to the whaling outpost of South Georgia from where they were rescued.
Production Photos by Jeff Carpenter Ernest Shackleton and the expedition launching a lifeboat-Wickipedia
Ernest Shackleton Loves Me Book – Joe Pietro Music- Brendan Milburn Lyrics- Val Vigoda Directed by Lisa Peterson Music Director- Ryan O’Connell Tony Kiser Theatre 305 West 43rd Street Through June 11. 2017
