Bobby Patrick - Page 13

With the aid of master violinist, Anne-Sophie Mutter - looking stunning in her sparkly strapless evening number with her blonde, blonde hair atop her rare, fair features - the music of the evening thrilled, charmed, frightened, and recalled memories.

Check out Lincoln Center’s American Songbook series, BECAUSE - To make the arts more accessible, tickets are available on a Choose What You Pay basis. There is a suggested ticket price, as well as options to pay more or less. But who can argue with a pay what you can ticket to hear some of the best music and artist in town.

The charm of A ONE-MAN SHOW is, in fact, the one man. DDB is adorable to look at and listen to. He tells charming stories in charming ways and weren’t we all charmed by them

Birthed from a brain tweet by Alexandra Silber - I WISH: THE ROLES THAT COULD HAVE BEEN - brought Al and her pals back to Feinstein’s/54 Below to celebrate the dawn of a new age of theatre where all roles are open to all people with the power to wish it so… even in their showers.

We were there to hear and see the late-night denizens of the stage sing, play, and make dark innuendos about life, sex, gay sex, and all the things that made the party before the Nazi party … well, ... a party.

Mark’s entire evening felt like a party where everyone was just tipsy enough to have some fabulously creative, freewheeling fun - madcap would be the word that comes to mind to describe the show.

Should you see LEE ROY REAMS: GOODBYE, KENTUCKY! HELLO, BROADWAY! You bet your sweet rainbow bottoms you should and the good news is - no matter where you are, YOU CAN. Get Tickets to tonight’s Live Stream

Each song was a highlight not only from the career of Broadway’s Titan of words and music but from a group of young performers all singing and acting at the top of their games.

Early in the show, Silber hit Valentine’s day out of the park as she told of being the author of two, count them TWO books. One of her published efforts, AFTER ANATEVKA: A NOVEL INSPIRED BY 'FIDDLER ON THE ROOF', served as the basis for a 3 song triptych in her LOVE set.

Each song performed by the company of Marlow, Moss, Rachel Webb, Zak Ghazi-Torbati & Joe Beighton (Piano & Vocals) had at its core exactly what it needs to tell a story - dramatic tension.

Major’s show became about paying an hour-long tribute to his former Disney employers. Explaining how his early consciousness was informed by The Mouse’s Movie Musicals, Attaway went thataway with his setlist, giving forth fab numbers from their copious catalog, leaning (surprisingly) on the more villainous characters from some of Disney’s most famous animated features.

For this edition, Leola had as her guests, Analise Scarpaci - one of Broadway’s foremost precocious stage brats who is leaving childhood behind and blossoming into a fine adult actress, Lindsay Nicole Chambers - late of Legally Blonde, Lysistrata Jones and pretty much all the L shows of Broadway, My adorable boss, Stephen Mosher and Leola’s boss - TGR42’s Jack & Jill Of all trades, Michael Kushner.

Each of the shows mentioned below stood out this year in a year of people working hard to get back to work and who all deserve praise for doing so. With all that and a whole lot more in mind, here is the Best of Bobby - 2021 Edition:

... to be clear, Ms. Turner has approximately 5 really good notes, but the rest of them she sings with great distinction.

A divine historian, curator, and musicologist there really is no one who knows more about Esther Blodgett than Michael Feinstein, and there isn’t a history professor alive today with the charm, charisma, or pipes to turn history into HER-STORY

From the great American Song Book (SLEIGH RIDE) to country (SANTA WENT DOWN TO GEORGIA) ... you basically wind up with something for everyone

Highlights of the night were Shaieb’s THE HOUSE WHERE I GREW UP AT CHRISTMAS, Mariah Carey’s ALL I WANT FOR CHRISTMAS IS YOU (a total home run) and her encore, Stephen Schwart’s MEADOWLARK - a theatre opus that she still managed to make sound Christmassy. 

Heigh-Ho, My Merry Rainbow Tribe! Bobby Patrick, your RAINBOW Reviewer here. Putting the silent T in cabareT to bring you all the T!

You see my dear ones, in the end, it’s all in his singing. Moss has one of those rare tonal qualities that can only be described as, “A tear in the voice” and it is this heartfelt vulnerability that draws you into his music as he travels from Hilariousville to Haunting Town and back again.

Bobby defines cabaret as (n) A wilful force of artistic expression, and Jack, for those who have not yet experienced him, is a cabaret force to be reckoned with.