Andrew Martin

In his new show at the Metropolitan Room, Give My Regards to Broadway (which opened on July 18), Jacob Storms wholeheartedly disproves the perception that a singer making their debut in the cabaret arena need a director or more than just a pianist to prove their greatness. Over at Don't Tell Mama, former Oak Room show producer Arthur Pomposello has re-emerged with a new regular blues supper club show.

Two decades ago, cabaret was mesmerized by the sudden presence of a phenomenal male vocalist by the name of Tom Andersen, who quickly found himself not merely an overnight sensation in the clubs of New York and other major cities across the nation but throughout the globe. Part of his attraction was that, whereas most light baritones will strain and strive to hit notes in the highest register possible, to Andersen it came as naturally as simply drawing a breath; he was a theatrical tenor in the truest sense. And he may well now have an heir apparent in the form of Seth Sikes, who burst onto the scene on June 10 with a striking Judy Garland tribute show at 54 Below on what would have been the legendary lady's 93rd birthday. 

Somewhere In This Song: The Music and Lyrics of Nicholas Levin, which premiered this past Saturday afternoon at Metropolitan Room is a hit show that will undoubtedly find its legs for a much-deserved extended run there, or possibly on an Off-Broadway stage. Levin, a prodigious songwriter, has never achieved the recognition he deserves, in spite of getting a handful of award nominations, his stellar contributions to the 2006 hit Off-Broadway musical That Time of the Year at the York Theatre, and his long participation in the acclaimed ASCAP/MAC Songwriters Showcases. But with this latest revue featuring his songbook, Levin--and his work--may finally get his chance to shine.

It's not exactly a secret that cabaret has for decades been a world dominated by female entertainers. Sylvia Syms, Julie Wilson, Margaret Whiting, Karen Akers, KT Sullivan, Karen Mason and myriad others have assumed the top notches of the art form. But, perhaps, men might be taking their place among the front lines and a perfect example this past week were the shows from cabaret veterans Kevin Dozier and Frank Torren.

It's almost inconceivable that Joshua Warr, one of the current cabaret scene's truest powerhouses since his award-nominated debut some seasons ago, is at once so young, so accomplished, so poised and confident, and so adept at bringing a true sense of artistic sensibility to the arena unseen since the glory days of such 1970s clubs as Reno Sweeney and The Grand Finale. But with his new show at 54 Below, he hits it out of the park at every turn.

With very few exceptions since the beginning of cultural history, the sweet sand passage of time marches across the vocal cords of the greatest singers of all during their time in cabaret and nightlife circles.

From the Oscars to the Tonys, the Grammys to Emmys, awards ceremonies are always a hit-or-miss situation. Either the event is absolutely excellent or ends with spectators saying, 'Well, they'll do a better job with it next year.' The 2015 MAC Awards, presented by the Manhattan Association of Cabarets & Clubs, and held once again this year at BB King's on West 42nd Street, absolutely fell into the former category. It was a splendid affair (albeit it's usual 3-plus hours) that was expertly directed by MAC President Lennie Watts.

Cabaret has never suffered a dearth of French female singers. In the 1970s and 1980s and well into the 90s, Jeanne Beauvais, Baronne, and Greta were among the very masters/mistresses of the art form. Yvonne Constant has completely and utterly established herself among them.

In just three years since the inception of the BroadwayWorld New York Cabaret Awards, the ceremony has evolved into one of the community's most-anticipated events. And this year's festivities, the second one at Joe's Pub, proved to be the most glittering and energetic assemblage to date. In fact, there couldn't have been a more promising start to the annual cabaret awards season, which continues with the Bistro Awards at Gotham Comedy Club on March 4, and culminates with the MAC Awards (Manhattan Association of Cabarets & Clubs) at BB King's on March 26. The 3rd Annual BWW Awards Show was just the right spark to get this season's prizes off to a veritable fireworks display.

Cabaret in New York has never suffered from a dearth of impressive jazz-oriented chanteuses. These include such past and present delights as Mary Foster Conklin, Laurie Krauz, Sally Mayes, Janis Siegel, Kat Gang, and the late Claiborne Cary. It is therefore most unfortunate that Birdland, an otherwise-impeccable jazz nightspot, had to suffer the recent show of Joanne Tatham (celebrating the recent release of her CD Out of My Dreams). While Tatham drew a very good house indeed, the lady has very little business referring to what she does as 'jazz.' In fact, it's not even cabaret. What Tatham delivers is really more a sad club act that couldn't even take it's place among the bluest of blues.

There's really no other way to describe Rachelle Rak other than calling her 'a living, breathing phenomenon.' Over the years she's become nationally known for her incredible work as an electricity-riddled dancer and singer on Broadway in such shows as Fosse, Cats, and Starlight Express, as well as a recent highly acclaimed turn as Sheila in A Chorus Line at Paper Mill Playhouse. She's also become instantly recognizable by legions of young theatrical hopefuls for her appearances on the reality-TV program Dance Moms and its companion series, Abby's Ultimate Dance Competition. But on top of all that she has completely conquered the world of cabaret with her show Sas With One S, which premiered at 54 Below on the evening of January 4th and will return on January 29th.

Since their initial launch in 1993, the a cappella group The Kinsey Sicks have emerged as a cultural phenomenon within the LGBT community and far beyond. They've gone on to a multi-month run of their Off-Broadway show, seven CDs, concert appearances across the globe, and a plethora of music videos available on YouTube and elsewhere. Out of drag, they're known as Ben Schatz, Irwin Keller, Jeff Manabat and Spencer Brown. When in character with requisite costumes and makeup, they're Rachel, Winnie, Trixie and Trampolina. Either way, they've brought their delectable holiday show Oy Vey in a Manger! into the Metropolitan Room for a short stint (they'll appear again on Tuesday, December 9th at 7:00 PM and Wednesday, December 10th at 9:30 PM), for a nonstop hour of Yuletide merriment.

Bobbie Horowitz has been at the top of the cabaret game for nearly 30 years--as composer, producer, performer and fan--and the recent variety show tribute to her at the Metropolitan Room proved why and was richly deserved.

Dorothy Bishop has been called everything in cabaret circles from 'singularly outstanding' to 'proof that women can be drag queens, too.' And she's proven every adjective in between when displaying her talents over the last few seasons with her Dozen Divas Show, at a variety of spaces not just on the mainland but several cruise lines. However, upon a close re-examination of her stupendous talents most recently at Metropolitan Room, this dynamite darling may well have crossed over into utter genius.

One single most-telling elements of multi-award-nominated cabaret chanteuse Kim Grogg, and her latest show Go Where the Love Is (which makes further appearances at Don't Tell Mama, 343 West 46th Street between Eighth and Ninth Avenues on Tuesday, November 18th and Friday, December 5th at 7:00 PM, as well as Sunday, December 7th at 5:30 PM), is that she along with band and technical crew manage to create a seamlessly-fine line between casual presentation and sophisticated elegance; this show easily could have taken its place among the acts at the now-legendary downtown clubs Reno Sweeney and The Bottom Line in the 1970s. As if that wasn't enough, Grogg manages to spin a glorious yarn on the hazards of love and dating, and does so with absolutely top-notch song selections.