Review: Mary Porter's SOUTHERN NIGHTS at 54 Below Is a Rollicking Celebration

Singer Mary Porter, who debuted at 54 Below last November with Hats Off to Carolina: A Tribute to North Carolina Artists, returned to the venue on September 15 with a brand-new but related show, Southern Nights. The winsome North Carolina native has gained a following and a whole lot of friends in the New York cabaret scene, especially among those of the Southern persuasion. As such, she peppers her shows with many “down home” guest performers. Porter is in some ways reminiscent of Dinah Shore, a Tennessee gal whose welcoming, neighborly charm was part of the magic of her 1970s television talk show.

For Southern Nights, which had a sizable audience and was also livestreamed, Porter was accompanied by musical director and pianist Mark Hartman, guitarist and banjoist Chris Biesterfeldt, bassist Mary Ann McSweeney, drummer Greg Joseph, and jazz trumpeter Alfonso Horne. Singer and violinist Edmund Bagnell added some fiddling to several numbers.

The show opened with its eponymous title song, “Southern Nights” (Allen Toussaint), the 1977 Glen Campbell hit that got the most jukebox plays that year. For a while, it seemed Porter might give away the entire show to her guests, starting with performer Macon Prickett, who is also the fellow most likely to greet you when you check in at 54 Below. Prickett performed a lively medley of “9 to 5” (Dolly Parton) and “Here You Come Again” (Barry Mann/Cynthia Weil) in honor of the late Dolly Parton. Porter introduced the guests and told stories about the songs. A minor quibble was that she needed to read her introductions and stories from a script.

Texan Seth Sikes performed a medley of “Big River” (Roger Miller) and “I Can See It” (Harvey Schmidt/Tom Jones) from The Fantasticks. The boyish Sikes is endearing, charming, with a sweet voice and exuberant delivery.

Richard Skipper (originally from South Carolina) was tapped to celebrate New Orleans native Louis Armstrong. Skipper came in from the “wings” and worked the crowd before launching into a sprightly “Hello, Dolly!” (Jerry Herman), complete with a brief Armstrong impression. Skipper was famously a Carol Channing tribute artist for many years, and is an expert on all things “Dolly.” Alfonso Horne did a convincing job playing the Armstrong solo here.

Edmund Bagnell, also from South Carolina, lent his lovely tenor voice to “Always on My Mind” (Wayne Carson/Johnny Christopher/Mark James). He sang and played fiddle on the bluegrass number, “Orange Blossom Special” (Evin T. Rouse) with Biesterfeldt on banjo, honoring The Charlie Daniels Band’s blistering performance of the number. Hartman joined in with vocal harmonies. This was great fun.

Before bringing up Tony nominee and Grammy winner NaTasha Yvette Williams for “Summertime” (George Gershwin/DuBose Hayward/Ira Gershwin), Porter told the story of Gershwin’s journey to South Carolina to immerse himself in the local heritage before writing Porgy and Bess. Williams’ spectacular voice immediately raised the bar. Horne’s muted, bluesy trumpet accompaniment was masterful here.

It wasn’t until ten songs in that Porter returned to the mic for a Carolina medley that included snippets of many songs connected to the South, followed by a charming duet and dance on “Carolina in the Morning” (Walter Donaldson/Gus Kahn) with Sikes.

Williams’ “Georgia” medley included, naturally, “Georgia on My Mind” (Hoagy Carmichael/Stuart Gorrell) and “Midnight Train to Georgia” (Jim Weatherly), with delicious Horne obligatos.

Williams, Porter, and Bagnell teamed up for a spectacular rendition of the Christian hymn “How Great Thou Art” (from a traditional Swedish melody, with English lyrics by Stuart K. Hine). Porter was at her vocal best here. When Williams took over the song, it became the surprising highlight of the show. She sang it beautifully, with passion and commitment, moving many in the audience to tears.

Southern Nights was a tremendously fun show. Mary Porter may well have the beginnings of an ongoing Southern Series. At 54 Below, the South will rise again!

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Photos: Conor Weiss

Learn more about Mary Porter on her website at maryportermusic.com/about

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