Review: MAMA’S NEXT BIG ACT Crowns a Winner at Don't Tell Mama

While I always mourn the end of summer as we flip the calendar to September, there is one tradition that softens the blow: the finale of Mama’s Next Big Act at Don’t Tell Mama, now in its ninth year.

For those new to the scene, Mama’s Next Big Act is an eight-week cabaret competition that brings together emerging performers to develop their voices, refine their storytelling, and ultimately compete for a coveted solo show. What begins with more than twenty hopefuls is, by finale night, narrowed down to just five-and this year’s finalists were Chelsea Trotti & Dalton Maltz, Lyle Smith Mitchell, Madilyn Jaz, Imani Parker, and Billy Mitchell.

Each week brings a new challenge, but the finale may be the most demanding: three songs, including a required interpretation of Barry Mann and Cynthia Weil’s “Make Your Own Kind of Music.” With judges Frank Dain (who has not missed a week since the competition’s inception), last year’s winner Aaron Valentine, and producer of the multi-MAC Award-winning series, Lennie Watts, the stakes, and expectations, were undeniably high. Guiding the evening with signature flair, Lena Moy-Bergen, our “hostess with the mostest jumpsuits,” once again set the tone, reminding the audience that we are not merely spectators-we are voters.

What could have felt repetitive–hearing the same song five times–instead revealed itself as the evening’s greatest strength. Each performer offered a deeply personal interpretation. Madilyn Jaz brought a playful, communal energy, accompanying herself on ukulele (affectionately named Lennie) and enlisting the audience with percussion instruments. Lyle Smith Mitchell delivered a thoughtful, introspective reading, reframing the song through the lens of religious upbringing and personal growth. Chelsea Trotti & Dalton Maltz leaned into harmony and nostalgia, delivering a warm, retro-inspired rendition that invited the audience in. Billy Mitchell infused his performance with theatrical precision and wit, cleverly weaving in “Not Getting Married Today” from Company. Imani Parker’s interpretation, which incorporated Des’ree’s “You Gotta Be,” was both heartfelt and resonant, capturing the complexities of identity and belonging.

After weeks of watching these artists evolve, the responsibility shifted to the audience-a nearly impossible task. Each finalist not only demonstrated undeniable talent but also a willingness to be vulnerable, sharing stories that made each performance distinct and deeply felt.

As ballots were cast and counted, the evening continued with performances from past participants-a reminder of the community this competition has fostered. Lena Moy-Bergen returned to the stage alongside former winners Evelyn Sullivan and Aaron Valentine, as well as Can Yasar and Trudy Carmichael. For those of us who return year after year, it was especially moving to witness these familiar faces and see how their artistry continues to evolve beyond the competition.

And then, of course, the moment everyone had been waiting for.

In true form, Don’t Tell Mama booking director Sidney Myer took his time–slowly, deliberately unveiling the evening’s most infamous prize: the panini press. While the winner also receives $1,500 toward a show at Don’t Tell Mama, a professionally designed poster by Frank Dain, an appearance on The Lineup with Susie Mosher, and a feature in Cabaret Scenes Magazine, it has become increasingly clear over the years that none of us are emotionally prepared for the countertop appliance reveal.

Sidney, sensing the gravity of the moment, even read the box details aloud-just in case anyone remained unclear on the specifications of the device that now determines cabaret destiny. Because yes, there is artistry at stake… but also, apparently, artisanal pressed sandwiches.

And with that reminder, Lennie was ready to announce the winner. This year’s title went to Imani Parker, a returning contestant who delivered with clarity, heart, and growth. The room erupted as she accepted her prize, panini press in hand, in a moment that felt both celebratory and well-earned.

While there can only be one official winner each year, every participant, especially those who advance deeper into the competition, walks away with something meaningful. Over the course of the summer, they undergo an intense crash course in cabaret: performing weekly, completing assignments, receiving personalized feedback, and learning through both observation and community. Those lessons, more than any title, remain the true prize.

Another summer comes to a close, another winner is crowned. And while I may never quite grow accustomed to the season’s end, I’ll be looking forward to seeing what Imani Parker does next when she takes the stage for her solo show this winter at Don’t Tell Mama.

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