Review: Andy Saehan Shin Proves He's a STAR TO BE at the Beechman Theatre

Part of the “Star To Be” project at the Laurie Beechman Theatre, Andy Saehan Shin is one of three artists selected for this generous program, which gives emerging performers access to a professional stage while underwriting production costs and other expenses. Making his cabaret debut on August 27th with What I Do for Love, Shin made it quickly apparent why he was chosen. In short, his voice is made for the spotlight.

From his opening lyrics of “New York, New York,” it was clear that this was a voice of star quality. Dressed in a stunning iridescent red suit and black tie, Shin commanded the stage with a deep, resonant baritone, embellishing the familiar melody with impressive ease. It was a fitting beginning for a "star to be." Spoiler alert: Start spreading the news—Shin won’t have any trouble making it in New York.

His second song, the 1965 pop hit “It’s Not Unusual,” brought out some wonderfully playful period moves. At one point, Shin broke into laughter, apparently struck by how surreal this moment in his life must have felt. The song was ideal for his baritone but also gave him an opportunity to reveal a surprisingly agile upper register. Is he a tenor, too? Then, with a confident flourish, Shin unbuttoned his jacket and slid into the country hit “Your Man,” opening with the unmistakably bass lyrics, “Baby, lock the door and turn the lights down low,” revealing yet another dimension of a voice that seems to have no obvious boundaries.

Shin acknowledged the question he most often hears: “Where did that voice come from?” He understands the curiosity, gesturing toward his smaller frame. “The hardware doesn’t match the software.” He recalled that someone once asked, “Did you swallow a big black man?” Shin smiled as though recognizing the question’s double entendre and answered with a sly, simple “Yes.”

Shin continued his tour through an impressively eclectic repertoire with “Lean on Me.” By then, the full house seemed less like an audience and more like a room full of friends and devout fans. When the final chorus arrived, the audience spontaneously joined in—and with harmony. New Yorkers are so talented in that way!

For “This Is the Moment,” the power ballad from Jekyll & Hyde, Shin explained that it is his go-to audition song, one he sings whenever he gets the chance. He recalled that his first audition back in high school for The Sound of Music was a disaster. He couldn’t find the opening note, even after a couple of attempts, until the accompanist pounded it on the keyboard, making the note unmistakable to everyone in the room. To commemorate just how far he has come since that first audition, Shin quietly sang the lovely “Edelweiss.” The moment was exquisite and touching.

For a change of pace, Shin recruited three Disney Mulan enthusiasts from the audience to join him for “I’ll Make a Man Out of You.” The entire audience then enthusiastically joined the chorus of “Be a Man.” Very fun—and a welcome reminder that a powerhouse vocalist can also be an entertaining cabaret host.

Next came a planned guest appearance by his friend Taylor Patty, who once played Shin’s wife in a past production—his “pretend wife,” as he called her. Together they sang “Suddenly, Seymour” from Little Shop of Horrors, and the chemistry between them was immediate. Every number seemed to top the previous one, and this was no exception. Perhaps Laurie Beechman’s “Star To Be” project has already found one of next year’s recipients.

One of the evening’s most inventive moments followed: Shin sang along with a video boy band made up of his younger selves, providing the a cappella accompaniment to Stevie Wonder’s “Don’t You Worry ’bout a Thing.” Produced with considerable finesse, the number sounded reminiscent to Take 6 and The Brady Bunch opening credits—both utterly charming and adorable.

Shin then turned to a Korean folksong, accompanying himself on a wooden recorder with its sweet, delicate sound, gradually giving way to vocals that grew in intensity. The contrast between the recorder and the blaring, booming sustained vocals was striking. It was followed by “Bridge Over Troubled Water,” which he dedicated to his parents in the audience, “who have given me so much to be here onstage right now.” Holding back his own emotions, Shin delivered a moving rendition that culminated in a high note seemingly pulled from another galaxy. Still not entirely sure where it came from, but it was certainly a one-of-a-kind ending.

After many heartfelt “thank yous,” especially to his music director and accompanist Alex Ngo, Shin had reached his finale, “Anthem” from Chess. He jokingly remarked, “Hopefully, I can sing it.” The comment was a humorous acknowledgment of how many anthems he had already covered. In a musical performance, a singer may have one or two powerhouse ballads, but in Shin’s cabaret, nearly every song has been one. Maintaining that level of vocal intensity throughout the evening is no small feat. Yet with the momentum of his repertoire behind him, Shin had no trouble belting out one more.

During the standing ovation, the audience chanted for an encore. Shin returned to the show’s title, What I Do for Love, in homage to the final song from A Chorus Line, “What I Did for Love.” He said he hoped that when he reaches the end of his career, he’ll be able to look back with the same feeling. I have no doubt he will.

---

Follow Andy on Instagram at @andysaehanshin

Reader Reviews

To post a comment, you must register and login.

Need more Cabaret Theatre News in your life?
Sign up for all the news on the Summer season, discounts & more...