John Kander (1927-) and Fred Ebb (1928-2004) were introduced in 1962 and collaborated on their first Broadway musical, Flora the Red Menace (introducing Liza Minnelli) in 1965. Career highlights include the iconic may-run-forever Cabaret, successively revived Chicago- (both made into films), Lauren Bacall’s transition from film to theater in Woman of the Year, and the formidable Scottsboro Boys. The multifaceted team also wrote “New York, New York”, arguably our city anthem- the theme to Martin Scorsese’s 1977 film of the same name.
Certain music from Kander’s oeuvre is so evocative of memorable theater, it makes the hairs on one’s arm stand at attention. The Pop’s opening, Suite from Chicago does just that. Some of the audience bob in their seats or tap their feet, others mouth lyrics. More than an era or city, Kander and Ebb (here with Bob Fosse) captured an ethos of gleefully celebrated corruption uncomfortably familiar today. I suspect Cabaret continues to pack them in for the same reason. The shows are not just innovative and entertaining, they’re resonant.
John Kander in the balcony. To his right, director Susan Stroman
Tonight’s Guest Vocalists are both young Broadway veterans.
Cassie Leavy has a smooth, confident voice that can unfurl with moderation or belt, though she seems audibly more at home with the latter. She has stage presence. Results, however, are mixed: “Mein Herr” and “Maybe This Time” from Cabaret, lack pathos and bite. “Roxy” (Chicago) and “Everybody’s Girl” (Steel Pier) are missing their innately wicked play. One wonders whether the youthful performer understands the songs’ context.
More contemporary, ‘Ring Them Bells” (Liza with a Z) and “Colored Lights” (The Rink) fare better. Leavy embodies pluck and exasperation attributable to the first song’s protagonist. With the second, we feel hope and ambition as her voice lilts and loops with sweet, trailing vibrato.
Tony Yazbeck rushes through the terrific “Coffee in a Cardboard Cup” (70 Girls, 70) -due to speedy arrangement that robs the number authenticity and delivers a couple of songs as Billy Flynn from Chicago, a role to which he’s imminently returning, with no discernible charisma.
Tony Yazbeck, Steven Reineke, Cassie Levy
Act II, however, sees a complete transformation. Yazbeck’s delicate “Sometimes a Day Goes By” (Woman of the Year) with only piano accompaniment, is eminently tender and touching. “You, You, You” (The Visit) follows suit with palpable yearning. Both of these showcase the performer’s emotional tenor. Yazbeck then offers this evening’s zenith, “City Lights” (The Act) during which, having infectious fun, he grows fully animated, even engaging in loosey goosey, complex tap dance.
In addition to a sassy overture, The New York Pops Orchestra excels with “Hot Honey Rag” (Chicago) which grins, twirls, and flips its hat in textured musical layers and a powerful, lush rendition of “The Minstrel March” (The Scottsboro Boys).
Music Director/Conductor Steven Reineke keeps us abreast of each song’s origin with a bit of amiable patter. At his suggestion, we sing “Happy Birthday” to John Kander, spot-lit in the balcony. Far from retired, the honoree’s Kid Victory (written with Greg Pierce) is playing at New York’s Vineyard Theatre. He’s now at work on The Beast of The Jungle, based on a novella by Henry James.
John Kander celebrates his 90th Birthday on March 18. We honor both his partnership and continuing high craft.
Photos by Richard Termine
Opening: Tony Yazbeck, Cassie Levy
NEXT for The New York Pops:
You’ve Got a Friend: A Celebration of Singers and Songwriters- April 21, 2017
Carnegie Hall presents
The New York Pops
Steven Reineke-Music Director and Conductor
Guest Artists: Cassie Levy, Tony Yazbeck
Life Is a Cabaret: The Songs of Kander and Ebb
Most of us grew up with Showplace of the Nation, Radio City Music Hall and The Rockettes. As locals, we’d be taken to the awe-inspiring Art Deco entertainment palace, generally on holidays, where bang for your buck included both a film and live stage show. (Duality ended in 1979.) My grandmother humiliated us by packing sandwiches in waxed paper, so we wouldn’t eat junk. The place seemed unfathomably big and eye-catching.
“New York, New York”- The Legacy Dancers – Photo by Milan Miskos
First memories recall its two, resonant, “Mighty Wurlitzer” organs sliding out as if from nowhere, the entire orchestra rising up and sometimes back as if magically propelled, Christmas carolers filling every balcony, and, inevitably, the show’s centerpiece number, “The Parade of the Wooden Soldiers.” Originally choreographed by The Rockettes founder Russell Markett with costumes designed by Vincent Minnelli, the number remains pretty much as conceived some 84 years ago, a wide variation of formations in military precision, ending with a cannon shot knocking the dancers over like a line of dominoes.
The dance troop, inspired by the John Tiller Girls of The Ziegfeld Follies, was inaugurated in St. Louis as the Missouri Rockets. Renamed the Roxyettes, it was brought to New York City by Samuel Roxy Rothafel to perform first at his Roxy Theatre and then, beginning with the first Christmas Spectacular December 1932, at Radio City Music Hall where the company became what we now know as The Rockettes.
“Another Openin’ Another Show”- The Legacy Dancers -Photo by Milan Miskos
Each and every Rockette must be proficient in ballet, tap, modern, and jazz dance. Height requirements are 5’ 6” to 5’ 10”. (Taller dancers are placed at the center to give the illusion of like height across the line.) Some 400 women audition annually. Often a dancer ‘gets in’ but is not actually hired until someone leaves, which can occur months or years later- such was the case when today’s speakers were company members. Rehearsal and performance schedules are daunting.
Once offered only at Christmas and Easter, the troop was gradually booked for outside events, television, and national tours. Every November, America gets a glimpse of them at The Macy’s Thanksgiving Day Parade. A current production, New York Spectacular Starring The Radio City RockettesTM , brings employment almost year round.
Make no mistake, this extraordinarily hard-working collection of leggy ladies is a family. Warmth and gratitude inform every personal story. Who else but a Rockette would understand the unique demands and rewards involved in this iconic sisterhood?
“Boogie Woogie Bugle Boy”- The Legacy Dancers – Photo by Milan Miskos
Hosted, Produced, Directed, and Choreographed by former Rockette, Mary Six Rupert, this afternoon’s event offers firsthand histories by alumna as well as intermittent musical numbers spotlighting The Legacy Dancers inaugurated in 2013. Ranging in age from 22 through 60, the ladies don’t all still have ‘perfect’ bodies, but extensions, synchronization and infectious ebullience abound. There are no weak links. These women can tap! Choreography is terrific fun. Alan Smith’s Costumes flattering delight.
Each ingenuous background tale, clearly written by its speaker, is accompanied by projected photos. These usually start with images of a widely grinning, two or three year-old girl in a tutu and end with photos of performance as a Rockette.
Madeleine Jay, who overcame an after-college injury that might have derailed her chosen vocation, was down with the flu when telephoned for a callback. Determined, she showed up fever and all securing a place in the “big, shiny, glossy unit.” Being a Rockette “was the hardest thing I’d ever done.” Jay remembers once “kicking out” (out of sync), anticipating serious repercussions. Instead the girl at her side was kind. Jay has performed and taught since then.
Mary Six Rupert; Bruce Michael-Photos by Richard Williams
Alina Silver, with 11 seasons under her now rather extended belt (she’s pregnant), was “hooked” from her first ballet recital. When a friend suggested going to Chicago for Rockette auditions on something of a lark, neither made the cut. Years later, however, Silver risked losing at a Celebrity Cruise job by flying to LA when the ship hit a glacier (no kidding) to once again audition for The Rockettes. She got in only to discover her friend Katie had as well. “As hard as it was, I appreciated the precision and perfectionism.”
Mary Six Rupert, the founder of Legacy on the Line, started performing as “the Littlest Raindrop” at age 2 ½. During a 15 year tenure with The Rockettes, Rupert danced with the touring Great Radio City Christmas Spectacular and was promoted to dance captain. She spent years in musical theater and now teaches as well as choreographs.
Rupert and student Tomlee L. Abraham offer a jaunty “My One and Only,” a number she restaged for and taught the great Harold Nicholas for the stage show. Her Wagner College students Brittany Cattaruzza and Tommy Joscelyn execute an utterly charming version of “I Won’t Dance” followed by “Ding” with game, older students from Bridge Dance.
Brittany Cattaruzza and Tommy Jocelyn – Photo by Richard Williams
Ann Cooley “was always a bit of a jazzerina.” Having secured her first paid gig as a dancer at age 16, she moved to New York at 18, auditioned for the Rockettes, and was accepted several months later. Unfortunately, no spot opened up for 3 years. Cooley became a musical theater gypsy, then joined the first touring Christmas Spectacular. She has since acted as director/choreographer of her own projects which include a stint teaching Korean artists musical theater tapping.
Former Vice President and Creative Producer of The Rockettes, (at present Executive Director of The Space at Westbury) Bruce Michael got the bug at age 7 when taken to the Music Hall to see Seven Brides for Seven Brothers. He was “completely captured” by film, show, and venue. “All through school I kept planning production numbers.” Immediately upon leaving college, Michael moved to New York and opened a bank account directly across from Radio City where he was sure he’d work. Singlemindedly hanging out at the stage door, he was eventually, rather cinematically, invited in, later becoming a stage manager. He left to start a production company, but returned in far greater capacity in 1989. Michael’s affection for the work and The Rockettes is palpable.
Katherine Corp and Kimberly Corp -Photos by Richard Williams
Twins Katherine and Kimberly Corp dreamed of being Mouseketeers. Encouraged to academic excellence, terpsichorean training rode tandem with impressive cum laude degrees in International Economic Policy. The ladies danced, toured internationally “with a famous magician,” and held substantial corporate banking positions in Japan. They currently own Pilates on Fifth and are in obviously tiptop shape. Duet performance of “The Typewriter Song” replete with eyeglasses, neckties, and briefcases on which they tap, is effervescent.
Dottie Belle spent 25 years with The Rockettes! A convention performance with a precision dance group lead to an audition for the New York company. She ‘passed,’ but there were no places for a year. Called suddenly, she found herself on a cot at The Rehearsal Club dancing four shows a day at Radio City. Belle weathered “four corporate takeovers” dancing as a Rockette at The Royal Albert Hall and with Peter Allen. She went back to school, became a corporate specialist in Health Education and Promotion and now brings fitness into private homes.
“Favorite Son”-The Legacy Dancers -Photo by Milan Miskos
Legacy numbers include “Another Opn’in, Another Show,” Boogie Woogie Bugle Boy,” and a finale of “New York, New York” with toppers and tails. A highlight is “Our Favorite Son” (The Will Rogers Follies) which features a vocal and is performed sitting on a long bench with Tommy Tune’s intricate, imaginative arm/hand choreography and Ann Cooley’s staging. Straw hats are cleverly affixed with bells which sound when tapped. Focus is consummate.
The smoothly run afternoon was both illuminating and entertaining.
Check The Ziegfeld Society web site for next season’s events.
Visit The Legacy Dancers website for more information.
Legacy 36,LLC is an organization founded to celebrate the art of precision dance and the women that have, and continue to, perform this dance style. The mission of this organization is furthered through fully produced productions, lecture demonstrations, precision dance workshops and camps and so much more.
Opening Photo by Giff Braun
The Ziegfeld Society of New York City and Legacy 36 LLC presents for the Fourth Year
Legacy On The Line-The Road to Becoming a Rocket
A Multi-Autobiographical Musical Revue
Produced, Directed and Choreographed by Mary Six Rupert
Will Rogers Follies and My One and Only
Choreography by Tommy Tune
The Legacy Dancers: Linda Bloom, Brittany Cattaruzza, Ann Cooley, Katherine Corp, Kimberly Corp, Nicole Davey, Ashlee Fife, Madeline Jaye, Cassandra Palacio, Adrienne Weidert
Lang Recital Hall, Hunter College
June 25, 2016