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.
In an election year full of worst possible behavior and damaging convictions, it’s uplifting to be reminded of a man of principle. (The bad guys seemed easier to identify then.) That Tony Award and Pulitzer Prize winning Fiorello! is a terrific piece of writing (a master class, really; don’t just watch, listen), with, in this production, adroit direction, artful visuals, droll choreography, and a company of notably young, talented players, is a veritable treat. Getting past their youth takes a minute. After that, it’s clear sailing.
Julius Reese, Michael Brahce, Ben Dallas Redding, Ryan Morsbach
If you’re familiar with Fiorello H. LaGuardia, it’s probably as the progressive, three-term Mayor of New York who helped quash a corrupt Tammany Hall political machine. Few are aware the lawyer was Deputy Attorney General, a decorated Army airman, served in Congress with firebrand commitment sponsoring labor legislation and railing against immigrant quotas, and was one of the first outspoken critics of Hitler.
Fiorello! concentrates on vicissitudes of city politics, LaGuardia’s personal life and character. There are three love stories – two based on fact, one, comic relief, lost as well as won elections, and a look at politics which, though couched in humor, is likely not too far from the truth.
Katie Birenboim and Chelsea Cree Groen
The longshot nominee is chosen at a poker table (“Politics and Poker,” one of musical theater’s cleverest numbers) presided over by party head Ben (Ryan Morsbach who especially shines in “Little Tin Box,” another whiz-bang funny song). Women of The Nifty Shirtwaist Factory, including the sweet, obtuse, Dora go on strike. (Chelsea Cree Groen – endearing comedienne, good singer, lovely dancer.) In retaliation, their leader, Thea (Rebecca Brudner – beautiful voice, lyrical spoken Italian, winning actress), is arrested for solicitation by on-the-take cop Floyd (Dan Cassin, a little too duh.)
Beleaguered employees Neil (Michael Sullivan – fetching tenor), Morris (Matt McClean, who could make more of this), and Marie (a spirited Katie Barenboim) – secretly in love with her uber-ethical, scrappy boss, put up with long hours and erratic behavior because LaGuardia is “On the Side of the Angels.” Dora unwittingly falls for Floyd: “I Love a Cop” which almost has dire consequences.
Austin Scott Lombardi, Rebecca Brudner and The Company
We see “The Little Flower” (a translation of his name, not to mention diminutive height) campaign in Italian and Yiddish: (“The Name’s LaGuardia: L-A-G-U-A-R-D-I-A”), fall in love with what the audience may perceive as the wrong girl, go to war, lose the girl and an election to the flashy, shallow-sound familiar? “Gentleman Jimmy” (James J. Walker), then win on both those fronts.
As LaGuardia, Austin Scott Lombardi is earnest and attractive, but rather more a leading man than charismatic character type which is a bit disconcerting. Like the company’s youth, one simply has to let this go.
The show is warm, tuneful, charming, wry, and wise. You’ll have a good time.
Matt McLean and The Company
Director Bob Moss stages with great freshness and an eye to visuals. The large cast moves seamlessly from scene to scene as does furniture. Pacing is nimble. Small moments as when each soldier salutes his girl before boarding the ship and Thea singing the beautiful “When Did I Fall in Love,” wrapping herself in LaGuardia’s robe, add intimacy.
Evan Zavada’s Music Direction offers the illusion of an orchestra with only 2 pianos and a violin. Brendan F. Doyle’s Sound Design is utterly crisp. Deft Choreography by Michael Callahan ranges from graceful to rollicking.
The Company
The city is made up of group of miniature (about 5’), two dimensional buildings on which photography of actual structures has been printed. These are supplemented by tall, portable street signs so we know where we are. A montage of newspaper clippings from the period covers the floor. If you’re sitting up high enough, perusal is fun. Incidental furniture is well chosen. Love the switchboard. Carl Sprague’s Scenic Design is original and effective. Matthew E. Adelson’s Lighting is playfully colored or dappled in all the right places.
By the look of it, Costume Designer David Murin had a great time dressing the company, not the least because of variety (chorus girls to cops, immigrants to servicemen) and multiple changes rarely seen on a production of this scale. The stage looks swell.
IMPORTANT NOTE: It’s freezing in this theater. Bring a jacket or sweater.
Photography by Alexander Hill Opening: Austin Scott Lombardi
Berkshire Theatre Group presents Fiorello! Book- Jerome Weidman & George Abbott Music- Jerry Bock Lyrics- Sheldon Harnick Directed by Bob Moss Choreography- Michael Callahan Music Direction- Evan Zavada The East 13th Street Theater 136 East 13th Street Through October 7, 2016
On the 25th Anniversary of this show’s original opening, (the vocalist’s debut at the fabled Oak Room of The Algonquin Hotel), and the 1st Anniversary of Stephen Hanks’ monthly series New York Cabaret’s Greatest Hits, Jeff Harnar and Alex Rybeck thrilled a club (The Metropolitan Room) so full of enthusiastic audience we practically sat on one another’s laps.
Worthy of The Hollywood Bowl or London Palladium (are you listening New Jersey Performing Arts Center?), this exceptional evening manages to embrace 21 Broadway musicals that opened in or were still running during its memorable 1959 season. The piece, performed with gusto, clarity, and taste, is cleverly framed as a show unto itself (top ticket price $9.20) with narrative arc illuminated by some of the best constructed medleys I’ve ever heard. Occasional duets add sparkle. (MD/pianist/Alex Rybeck.)
Bookended by a splendid arrangement of “Tonight” (West Side Story) delivered in three musical chapters – light piano cadenza, modulated upswell, Broadway fervor and a gauzy “Till Tomorrow”(Fiorello) – this adroitly written show also contains opening and second act Overtures and an amusing Entr’acte. The latter skillfully conjectures what people might be talking about in Shubert Alley at the time.
Jeff Harnar doesn’t just look around the room, he looks into our eyes making this an immersive experience. The performer is expressive and charming. Lightness of carriage and infectious love of the material makes us feel as if we’re at a stylish, showbiz party. Harnar is in superb, muscular voice. He musically turns on a dime and delivers appreciable script without dropping a stitch. There are songs performed with theatrical accents and others he inhabits with seemingly fresh character awareness. Sara Louise Lazarus reprises and conceivably improves upon her expert Direction.
We meet our boy and girl with “A Perfect Evening” (First Impressions.) He says I’ve seen her kind before…uppity laugh… She says, I’ve seen his kind before…head in the clouds, nose inthe air… The lyric is party spoken to great effect. “The wonderful thing about first impressions is that they change” prefaces a waltzy “Nine O’Clock” (Take Me Along) followed by a rich, aptly besotted “On the Street Where You Live” (My Fair Lady). “I Don’t Think I’ll End It All Today” (Jamaica) arrives with fair accent, engaging gestures, and dancey demeanor.
The show’s Marriage Medley slyly employs a familiar wedding theme from Company as a red herring, bridging numbers from other musicals. In part: “I’m Getting Married in the Morning” (My Fair Lady) is a wry dirge; Harnar’s reoccurring “Don’t Marry Me” (Flower Drum Song) emerges sophisticated, insouciant; “One Hand, One Heart” (West Side Story) contains a sob which seems new to this artist. Rybeck ably duets. Remember, he can sing. “As the Act I curtain falls, we find our hero contemplating the wisdom of his dreams.” Hands at his sides, ostensibly holding it together, Harnar showcases finesse while Rybeck’s arrangement shimmers light on selected passages.
Act II opens with a Political Medley featuring such as: “Little Tin Box” (Fiorello) during which Rybeck plays the prosecutor and Harnar the witnesses, several with New Yawk accents. This ends with a jaunty, ersatz soft shoe. And the acerbic hoedown “The Country’s in the Very Best of Hands” (L’il Abner) which sounds disturbingly current. (Why is no one doing a cabaret show of Broadway political songs?)
We then revisit “our troubled lovers.” “I Say Hello” (Destry Rides Again) brims with entreaty; “Long Before I Knew You” (Bells Are Ringing) is palpably warm, “Look Who’s In Love” (Redhead) lands surprised. Before the coda of this section, we hear Harnar’s Harold Hill tell partner-in-crime Marcellus that he can’t run away even if it means being caught. In love with Marian the Librarian,“… for the first time in my life, I got myfootcaught in the door…” (‘Inspired use of a line.). Four bars of “Till There Was You” (The Music Man) adds a cursive flourish. Always a talented balladeer, the vocalist brings sincerity to songs that might be merely sentimental in other’s hands.
A moving “Climb Ev’ry Mountain” (The Sound of Music) with unexpectedly entrancing piano serves as encore. Harnar is tender, not stressed. The song appears heady in a different, more affecting way. Much of the room tears up. Bravo!
This extraordinary show unfortunately has no future dates.
Photos by Steve Friedman
New York Cabaret’s Greatest Hits presents Jeff Harnar sings The 1959 Broadway Songbook First engagement at The Oak Room of the Algonquin Hotel 1991 Recorded live on Original Cast Records 1992 Jeff Harnar-Vocals Alex Rybeck- MD/Piano & Vocals Sara Louise Lazarus- Director The Metropolitan Room 34 West 22nd Street August 13, 2016 Venue Calendar
In October 1989, Donald Smith’s four year-old Mabel Mercer Foundation held its first annual New York Cabaret Convention. The New York Times headline read: Cabaret Convention Ponders a Disturbing Future. “Is there a place for cabaret in today’s age of mass entertainment? That is the question being pondered this week on the stage of Town Hall…” Stephen Holden. According to Holden’s 1991 coverage of the event, its debut “…attracted an audience of 6,000, and in its wake, Smith said, he received 900 letters about the problems facing the cabaret industry.”
Let us breathe a deep communal sigh and persevere with a modicum of rosey tint on our glasses. Print media, except for the venerable Cabaret Scenes, may refuse to acknowledge us except for an occasional blurb, but the art form continues to exist and evolve.
Small rooms and piano bars pop up replacing storied nightclubs as venues in which performers showcase talent. 54Below has become (Michael) Feinstein’s/54Below, extending programming and attracting fresh audiences. The 92 St. Y’s robust Lyrics and Lyricists series goes on with the organization’s roster adding Harvey Granat’s delightful midday salutes to iconic composers and lyricists. Fairly new on the scene, Pangea delivers striking alternative cabaret. Gianni Valenti (of Birdland) promises an additional locale in 2017. PBS has taken to the front line presenting cabaret on television. The Mabel Mercer Foundation is in its 31st year.
The 27th Annual New York Cabaret Convention runs from Tuesday, October 18 through Friday, October 21 at Jazz At Lincoln Center’s Rose Theater. Artists this year range from 12 year-old Zoe Gellman and 15 year-old Joie Bianco (who KT Sullivan heard this year at Michael Feinstein’s American Songbook Academy Competition – she didn’t win…this time) to the eternally youthful Marilyn Maye. Sullivan is encouraged by all the young aspiring vocalists she’s met and has faith in the art form. “As long as people gather in small places, sometimes with a drink, they’ll want to sit and listen to musical stories- unlike rock and pop and rap.” Artistic Director KT Sullivan
Tuesday October 18: Opening Night Gala – Hosted by KT Sullivan
Featuring, in part, Christina Bianco, Allan Harris, Carole J. Buffard, Eric Yves Garcia
“Opening night is always different because I like to spotlight more new talent and more kinds of music and sounds. There are several artists who have never performed at a Convention. We’ll hear American Songbook, Weimar, Jazz, likely Noel Coward, contemporary writers, and Broadway. We’re even hoping to have a trio song from Hamilton. I try to see every performer live, though I chose one this season on the basis of a terrific video, and then advise on material presented in our show.” KT Sullivan
Wednesday October 19: Saluting Stephen Sondheim- Hosted by Andrea Marcovicci and Jeff Harnar
Featuring, in part, Karen Akers, Sidney Meyer, Steve Ross, Jennifer Sheehan, Celia Berk
“Since its inception the Cabaret Convention has been a chance for performers to shine, and what better way to feature their talents than with the wit and wisdom of Stephen Sondheim! The repertoire is vast and sparkling with humor and tenderness, more than enough familiar songs to please our audience, yet many lesser known songs have found their way into the evening to keep them on their toes. I particularly look forward to my duets with Jeff Harnar which have been the highlight of my hosting duties, so once again we’ll be “Side By Side.” Andrea Marcovicci
“Three years ago I was a performer who felt too intimidated by the Sondheim catalogue to even consider his songs for my performance repertoire. KT Sullivan changed all that when she invited me to do a two-hander Sondheim show with her. As a performer who has always felt most at home in the musical skin of Cole Porter, now in my mid-fifties, I find performing Sondheim’s lyrics gifts me with a similar musical intelligence and wit as Porter’s, but with an unmistakably 21st Century sensibility. For our fifth time out as co-hosts, Andrea Marcovicci and I will present a Sondheim songbook. No hesitation on my part saying yes to that. Jeff Harnar
Thursday October 20: Saluting Sylvia Syms – Hosted by Rex Reed
Featuring, in part, Joyce Breach, Ann Hampton Callaway, Nicolas King, Billy Stritch
Frank Sinatra, her friend and mentor for five decades, called Sylvia Syms “the world’s greatest saloon singer.” The vocalist was perhaps best known for intimacy, unabashed honesty, and the ability to sing a variety of styles while maintaining her signature voice. “When you perform it’s a one-to-one love affair with the people out there. That’s how it has to be.” Sylvia Syms
“Sylvia Syms was beloved by everyone with sensitivity, taste and even the most basic knowledge of the art of the Great American Songbook, so a tribute to her warmth, savvy, sophisticated understanding of a lyric, and the beauty of her deep, throaty voice is long overdue. In addition to her exalted place in the history of song, she was a close personal friend who taught and informed me, enriched my life, and made me laugh, so I convinced myself I was the right person to lead the parade in celebrating her life and extraordinary career. I hope what we have some up with will best represent the supreme legacy of the artistry of Sylvia Syms.” Rex Reed
Friday October 21: Saluting Sheldon Harnick, Charles Strouse – Hosted by Klea Blackhurst
Featuring, in part, Corrina Sowers Adler, Liam Forde, Shana Farr, Todd Murray, Scott Coulter
Sheldon Harnick, author of such as Fiorello and She Loves Me, is having a banner year of national and local recognition with multiple musical revivals in New York. He received the 2016 Drama League Award for Distinguished Achievement in Musical Theater, as well as the 2016 Special Tony Award for Lifetime Achievement in the Theater. Composer Charles Strouse gave us such musicals as Golden Boy, the eternal Annie, Bye Bye Birdie, and Rags. “I never said to myself, How will I ever top this? …I mean, I like things to be a success, but the main thing is to keep working.” Charles Strouse
“As a little girl of four or five, I’d romp around the house belting out up-tempos from Fiddler On the Roof and Applause, Annie and The Apple Tree, among many others from our household collection. Flash forward to the preparations for the final night of the Mabel Mercer Foundation’s 27th New York Cabaret Convention. The focus is on Sheldon Harnick and Charles Strouse, titans from my ongoing record collection. The joy Sheldon’s words have brought into my life cannot be measured or fully understood. To be hosting the event is a thrill and a huge honor.” Klea Blackhurst
This year, the Convention will be preceded by several special events: Will Friedwald presents Cabaret Clips – rarely seen video and film of iconic performers – where does he find these?! at The Laurie Beechman Theater on October 15, 2016
On October 16th, also at the Laurie Beechman, one can be present at the live DVD recording of a show (at last!) by beloved performer (and booker) Sidney Myer “a lovable madcap singer/comedian with an audacious performing style who can touch your heart at the same time.” Steve Ross. People are already clamoring for tickets as the exquisitely wry Meyer performs so rarely these days.
On Sunday October 23rd following the convention, Urban Stages will reprise a special concert encore of the critically acclaimed Mabel Madness about the life of the Foundation’s legendary namesake written and performed by Tony Award Winner Trazana Beverly.
Coming Up: November 2016 KT Sullivan and Natalie Douglas accompanied by pianist Jon Weber will judge a Mabel Mercer Foundation Cabaret Competition in Durango, Colorado for aspiring young singers.
April 2017 The Cabaret Convention returns to Chicago for its fourth gala run in that city after a hiatus. Watch for details on the Foundation web site.
Opening: Jeff Harnar & Andrea Marcovicci – Photo by Stephen Sorokoff
KT Sullivan and Rick Meadows at Town Hall – Photo by Stephen Sorokoff KT Sullivan – Photo by Maryann Lopinto Jeff Harnar & Andrea Marcovicci – Photo by Stephen Sorokoff Rex Reed – Photo courtesy of Mr. Reed Klea Blackhurst- Photo by Bill Westmoreland
