Review: NEW WRITERS at 54 Below Spotlights Songwriter Ethan Carlson

Where are the up-and-coming songwriters showing their wares?  The answer, quite regularly, is at 54 Below – in the series called New Writers at 54.  The adjective “New” is a relative term, however; some of them have been around for more than a year or two or three, gathering a fan base, getting their work heard and recorded. Ethan Carlson, the tunesmith whose songs made up the program on March 25, has had his material (from several musicals as well as stand-alone songs) over the last several years at such places as Joe’s Pub, Don’t Tell Mama, and Soho Rep.  He seemed to be no stranger to many in a very full audience at 54, who responded to him (as host and as one of the night’s singers) with vociferous enthusiasm and applause, with loud cheers and squeals of delight like longtime members of a pop superstar’s fan club. With a twinkle in his eyes, playful grins, throwing in cute momentary dance movements, he definitely radiated confidence, charisma, and joy.  A natural ease (and, obviously, familiarity with the material he wrote and has lived with) made him often seem like the ideal performers for his work, more relaxed and not over-selling it with melodrama and power-belting, as happened when some of his guests turned up the volume, intensity, and angst. 

While the program presented songs from musicals about varied subject matter – ranging from ancient Bible stories to young people attending a gay-conversion camp attempting to turn them heterosexual – many of the numbers felt very long, climaxing in their emotions quite early on, and had lots of repeated lyrics. However, to my chagrin, many of those lyrics were extremely difficult to discern. Some performers’ diction left much to be desired, the band occasionally overpowered parts of the songs, and unfortunately, lyrics were frequently drowned out by the ecstatic clapping and vocal cries of the many pumped-up people at dramatic moments, such as key changes. As in TV singing competitions like “American Idol,” the spectators were eager to encourage showmanship and vocal fireworks at the expense of paying attention to the content and interpretations. 

Unsurprisingly, the ever-reliable Liz Callaway was the exception, with her usual attention to crisp diction (without seeming effortful), and a wise sensibility that allows emotions to build and be “owned.” The clarity and success of delivery was even more impressive considering that a back-up group of singers was part of the presentation and the assertive material, about being a “Modern American Woman,” brought on the “you go, girl!” kind of very audible audience zeal. A pro through and through, she is a role model showing the right way to go, without stinting on dipping into her own reservoir of vocal power.     

Participating singers included, among others, Broadway performers Jordan Tyson (leading “Hello, Goodbye” from Samson); Nikki Renée Daniels; Jake Pedersen; Benji Santiago; Kim Onah; and Alisa Melendez.

The band consisted of Musical Director Jason Wetzel on keyboards Jeremy Yaddaw on drums, Thea Mesirow on cello, Adam von Housen on violin, Mohan Ritsema on bass, and Zachary Larson on guitar.

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See www.54below.org to find more upcoming shows at the venue.

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