BWW Reviews: 'Man About Cabaret' Eric Michael Gillett Conveys the Essence of Noel Coward in Charming Show at the Laurie Beechman

The expression "Man About Town"--commonly defined as a socially active, sophisticated man devoted to the pursuit of pleasure by frequenting fashionable nightclubs, theaters, and restaurants--might perfectly describe the persona of Sir Noel Coward. Known for his acerbic wit, flamboyance, and savoir-faire, Sir Noel is an icon in theatrical history as a celebrated playwright, composer, director, actor, and singer. Could there be a better subject to explore during an evening of cabaret? In his recent run of five shows at the Laurie Beechman Theatre, Man About Town: The Wit and Wisdom of Noel Coward, veteran singer/actor/director Eric Michael Gillett proved he was more than up to the task of paying tribute to the legendary Coward. (See video.)

Sauntering to the stage dressed in formal attire, the debonair Gillett took on the Coward persona with ease and elegance. Beginning softly with a lovely and lyrical "Someday I'll Find You" (from the 1930 play, Private Lives,) Gillett conveys the pathos of the Great Depression era, then mid-song he suddenly snaps into jaunty, lightning-quick patter, telling an amusing story of how as a child he had a lateral lisp, and with corrective speech therapy eventually acquired a proper English accent by the age of 16. Gillett's intent here must have been to condition the audience to one of Coward's most noted characteristics-the rapid-rate-of-utterance as heard through a crisp British accent. Gillett then finishes up this section with the sublimely romantic "Zigeuner" (from the play, Bitter Sweet, 1929). Coward's 1934 song "Don't Put You Daughter on the Stage, Mrs. Worthington" (one of the few Coward hits not originating from one of his shows, and that he performed often in cabaret) was hysterical then and still is today. Gillett absolutely reveled in a performance that revealed Coward's wicked sense of humor and extraordinary song craft.

Gillett was equally impressive on "Why Do the Wrong People Travel," (Sail Away, 1961, the last musical for which Coward wrote both the book and score), and "Nina" (Sign No More, 1945). Gillett's script wasn't so much a biography of Coward, as it was telling the audience about his own recent personal tragedies (including a nasty fall down the stairs at 54 Below, and a devastating apartment fire that has left him temporarily homeless), perhaps to demonstrate how his own travails connect with one of Coward's enduring themes: That no matter what happens in life--chin up, old chap! If anyone has helped Eric Michael Gillett keep his chin up through the rough times, it's his dear friend and confidante, Cookie Stark, who came to the stage and delivered a poignant and haunting "Sail Away."

Gillett then delivered an amusing tale of his "Travels with Cookie" on the QEII ocean liner in search of the great fiords of Norway. Then it was on to the next number, but wait, there seems to be a stool missing from the stage. Oh well, heigh ho, no matter. Gillett comically reclines on the piano and offers up a wistful rendition of "World Weary"(This Year of Grace, 1928). Next he offers a brief dissertation on Coward's sexuality during which he again stops abruptly, taking a long, languid, hypnotic gaze at some delectable young man moving through the Laurie Beechman audience. Newly energized. Gillett bursts into a manic version of the comic masterpiece "I Went to a Marvelous Party" (Set To Music, 1938). After all this "giddy gaiety," one feels magically transported to a different time and place, and when Gillett offers up Coward's endearing favorite classic, "If Love Were All" (Bitter Sweet, 1929), one wonders whether Eric Michael Gillett has actually transformed into Noel Coward.

Musical Director/Pianist Rick Jensen's excellent arrangements contributed to the charming evening of song by musically creating a sense of time and period. Jonathan Kantor's wonderful clarinet and Matt Scharfglass' terrific bass lines suggested a historical reference to Coward's times during the song "London Pride" (1941), and the hypnotically beautiful "A Room with a View" (This Year of Grace, 1928). For his encore Gillett chose "Why Must the Show Go On?" (Together With Music, 1938) and by this point Man About Town had run for almost 90 minutes, long by cabaret show standards. All those Noel Coward lyrics is a mouth full for any cabaret performer to master and might account for why Gillett referred to a lyric sheet for several numbers toward the end of the evening. But you have to give him credit for his insistence on being accurate in conveying Sir Noel Coward's words. It was no easy task, but Eric Michael Gillett proved again in this tour-de-force performance that he is a consummate cabaret artist. Hopefully, Man About Town will have a return engagement. After all, the show must go on.

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