Review: AN EVENING WITH BRIAN STOKES MITCHELL at The 92nd Street Y Uplifted

The beautifully produced video “Hope” opened last night’s concert at The 92nd Street Y, New York. Accompanied by Jason Robert Brown, the opening lyric foreshadowed the evening’s song list: “I’ve come here to sing a song about hope.” With Brian Stokes Mitchell’s energetic entrance of welcome and gratitude, one couldn’t help but recognize the positive spirit that flows through his entire presence. “There’s No Business Like Show Business” introduced the world of reminiscence, and despite the song’s familiarity, it sounded as fresh as if heard for the first time. Beginning as a slow ballad, it evolved into boogie-woogie and, later, jazz—in a thrilling arrangement that set the tone for the night—thanks in no small part to musical director and pianist Tedd Firth.

Mitchell’s stated goal for the concert—to have everyone leave feeling more hopeful and joyful than when arrived—found immediate footing in “I, Don Quixote” from Man of La Mancha, performed in both English and Spanish. Instantly tapping into his glorious baritone voice, the rendition earned thunderous applause—and that was just the opening number.

One of the pleasures of a solo concert is the banter between songs, and Mitchell proved an engaging storyteller. He shared how he wasn’t initially a fan of Les Misérables until he later played Inspector Javert at the Hollywood Bowl. Reflecting that the key to portraying a villain is never believing yourself to be one, he delivered a commanding “Stars,” brimming with conviction and moral certainty. Another anecdote recounted being cast on the same day in Broadway’s Oh, Kay! and the Met’s Porgy and Bess—only to be forced by producer David Merrick to choose one or the other. He chose Broadway and though the musical closed quickly, it led him to meet his wife, Allyson Tucker. Making up for a lost opportunity, he performed Sportin’ Life’s song “It Ain’t Necessarily So” with flair, sly charm, and jazzy moves.

A highlight of the evening was “Lush Life” by Billy Strayhorn. Not only was Firth’s extended piano solo exquisite (as it was in “How to Handle a Woman” from Camelot), but Mitchell’s reflection on Strayhorn’s life—an out gay Black artist whose brilliance only survived till 51 of age—added emotional weight. Mitchell noted he waited years to sing this song, believing it requires lived experience. Now, at 68, he delivered it with depth, elegance, and hard-earned wisdom.

Mitchel also shined a light on contemporary writers, including two he found on the internet, songwriters Nikko Benson and Elizabeth Suggs. He performed their “A Wizard Every Day,” which, he believes, feels tailor-made for him. Other standouts included a virtuosic, multi-character rendition of “Getting Married Today” from Company, a stirring “Feeling Good,” and a deeply moving “Coalhouse’s Soliloquy” from Ragtime. With composer-lyricist team Stephen Flaherty and Lynn Ahrens in attendance, Mitchell shared that the song was first performed on this very stage. In a touching full-circle moment, its original, long-cut intro was restored, earning a standing ovation.

Mitchell warmly introduced his son, Ellington Mitchell, who has followed his parents into show business—“but thankfully backstage on crew,” he joked. Taller than his 6’2” father, Ellington shared the same radiant smile and easygoing energy that clearly runs in the family.

Two encores—“What a Wonderful World” and “The Impossible Dream” from Man of La Mancha—brought the evening to a rousing close. By the final note, Mitchell had more than fulfilled his mission, sending the audience out into the night uplifted, restored, and indeed, full of hope and joy.

Learn more about the artist online at www.brianstokes.com