Review: NOSTALGIA BAIT: FOR THE 2000S KIDS Offers Broadway Memories at 54 Below

On September 17th, the classic New York Cabaret spot offered classic songs for "Nostalgia Bait, for the 2000s Kids”. Despite the title, the house was filled with audience members of all ages, who all leaned in when the show began with the group number “When I Grow Up” from Matilda the Musical (2010). The first soloist, Malia Daniels, had a youthful voice and sounded like the original track. This tone made it all the more impactful when Luis Acevedo and Jenna Weisbach had solos near the end, both of which sported more mature, developed, almost classical voices. Despite all being in their early twenties, in one song, the cast displayed both the journey of the song from when they were little and had perhaps first heard it, to now as they perform it. The song started the evening ringing bells of wishfulness, and reflection. This fit into the first era of three for the evening: childhood nostalgia.

Once the large cast exited, Addie Green Peterson, Ami Bellings and Ayla Murloc remained to sing “I Know It's Today” from Shrek the Musical. The original animated movie Shrek premiered in 2001 with the musical version following in 2008, effectively starting the night in the early 2000s. Alongside vocals, the drums and trumpet drove the song forward and stood out as enhancing elements.

Hitting the nostalgia mark for both parents who read Dr Seuss and kids of the 2000s who were introduced to Seussical the Musical in 2000, Jenna Weisbach and Justin Taylor Smith performed “Notice Me Horton”. Almost serving as a third character, Justin Taylor held a giant clover prop; which held his attention both onstage and as he exited. Additionally, where in the original show, Gertie’s pitiful tweet comes from the actresses' own vocals, the team made the choice to have the trumpet playfully interrupt the song. These elements aided the evening to feel closer to a more fleshed out theatrical experience than just dinner and a show.

 Isabel Asher had the first solo of the night with "What It Means to Be a Friend" from 13 the Musical (2008).

Addie Green Petrson returned alongside Rosie Hess to showcase their duet rendition of “My New Philosophy” from You’re A Good Man, Charlie Brown (written for the revised 1999 Broadway revival). Strike that-trio performance with music director and pianist Safin Kari speaking Shroeder's lines from the show. Once again the trumpet had an unexpected solo, and the musicians became characters alongside the singers. Charles Shultz’s Peanuts characters have withstood the test of time, being nostalgic for anyone from the 1950s to today. The added harmonies and dynamic from the two girls playing Sally displaying how new fun can be found in old stories. I smiled and was personally reminded of my theater kid self with her friends, using a  couch as a curtain and spending hours making mini musicals for no one but ourselves, forcing solos into duets or group numbers because we all wanted to sing our favorite song. I hold this memory fondly not because of our resistance to share, but because in these new duets our uninhibited creativity could thrive. We were no longer trying to imitate our favorite actresses, but instead we were making things completely personal and unique to us. Those sparks are what I love most about theater today; being in rooms of inspiring people who are lifted up by the gifts of those around them. How special that a playful moment in a cabaret could bring up that little girl. 

The show kept on with Gianna Sprionello singing “When Will My Life Begin” from Disney’s 2010 film Tangled. When the acoustic guitar started up, an “I love this song” was heard from the audience. Gianna had expressive Disney princess eyes, and sounded like the movie. In the film, the song ends on a somber note, but the cabaret transitioned the reprise version of the song into this performance to lift the end of both the song and the end of the “childhood nostalgia era”. The addition of the reprise also demonstrated a shift from wishing to taking action, which continued on into the “Teenage Dirtbag” era.

This era starkly began with “The I Love You Song” from The 25th Annual Putnam County Spelling Bee (2005).  Rosie Hess (playing Olive), Luis Acevedo (Olive’s Dad), and Sasha Shetty (Olive’s Mom), swung the night into a much deeper, emotional moment, after such a positive Disney song was like being splashed with cold water- much like how being a teenager hits. 

Wow harsh transition like being thrown onto cold water.  Sasha and Luis’s voices served as life vests, gorgeously balancing Rosie’s emotion. Notably, the “parents” sang turned out to the audience, classic cabaret style, while Rosie as Olive looked between them as they only acknowledged the crowd, as if that were her reality. 

Like a teenage mood swing, the tone swung again to “Sincerely, Me” from Dear Evan Hansen (2016) (Trio), performed by  Zakari Emanuel Ramos (Evan), Garan Salandy (Connor), Justin Taylor Smith (Jared). Out of all the performances of the night, this was the most like it was plucked from the big stage. A full screen was built with flexible mic usage, pantomime typing and fun gestures such as little flick kicks and single ladies dance choreography.

The next moment was the song “Just For a Moment”  High School Musical: The Musical: The Series, (2019) sung in a very pop style by August Tedder and Clea Le. 

Ami Bellings sang through the solo of “Mama Who Bore Me” from Spring Awakening (2006) before the song transitioned into the reprise version with Eliza Boland, Sasha Shetty and Clea Lee. Another clever creative liberty, assisted by red lighting change as the songs switched, this was a powerhouse number, with killer vocals, as well as girlhood and rebellion radiating off the stage. It was such a clear break from innocence and naivety I wish it would have started the Teenage Dirtbag Era. Especially following the reprise from Tangled, this change in order could have helped ease the harsh transition mentioned before.

 Zakari Emanuel Ramos showed off his dynamic voice with “Proud of Your Boy” from Aladdin (2014). Next up, Dylan Leiwant and Ayla Mulock beautifully belted "Seventeen" from Heathers (2014). On a streak of strong vocals, Sienna Feldman fully embodied Janis from Mean Girls as she sang a brassy rendition of “Rather Be Me” from Mean Girls with an opt up at the end. On this vocally seasoned note, the teenage dirtbag era concluded and the Young “Adults” era began.

“I’m Not Afraid of Anything" from 1995's Songs for a New World was a smart song choice and excellently brought to life by Rachel Garr.  The song encapsulated growing up and suddenly meeting a constructed age marker that signifies being an “adult”. Going from being afraid of the dark to afraid in relationships, but a pressure to seem mature. Not being allowed to be afraid, having to balance childhood and responsibility, easily leads to the hiding and masking of fears and the song easily struck that cord for the new adults in the audience. On the other hand, the song also showcased empowerment through bravery, coming into your own and knowing oneself. 

Going through all the bumbumbums of adulthood, Luis Acevedo and Jenna Weisbach sang “First Date/Last Night” from Dogfight (2012), only looking at each other on one line, highlighting disconnect and uncertainty.

Complicating emotions further with a complex contradictory and antithetical, yet extremely relatable view of relationships Malia Daniels sang “When He Sees Me” from Waitress(2016). Complex relationships with family were brought up with “Superboy and the Invisible Girl” from Next to Normal (2009) performed by Audrey Link (Natalie), Eliza Boland (Diana), and Dylan Leiwant (Gabe). Dylan Leiwant took over the Piano and sang “Why?” from Tick, Tick…Boom (2001).

I thought “Why” would be the climax of the night before “Who I’d Be” from Shrek the Musical (2008) began.  Garan Salandy (Shrek), Audrey Link (Fiona), August Tedder (Donkey) galvanized the number, grasping for dreams and grounding the song with a strong vocal blend. The trumpet came back in full glory, and the piece was beautiful, moving and striking.

Though I was sad that “Who I’d Be” was over, the group performance of the next song, “Another Day of Sun” from La La Land (2016) did not let me down. Clea Le, Justin Taylor Smith and August Tedler particularly kept the bouncy bright energy up and were quite entertaining to watch as the night concluded.

Throughout the whole show, I was pleasantly surprised by the creative choices being made. The direction of numbers felt intentional as different methods were used to keep the audience engaged. The song selection was specific and could easily relate to the established Eras. However, I did feel baited by the title of the show. A small complaint, but nonetheless, audience members around me were surprised that the show only had musical theater numbers after promising nostalgia for 2000s kids. For 2000s musical theater kids, yes absolutely, but not the general 2000s. Additionally, I found the themes of the show to revolve more around coming of age than specifically nostalgia. On that, it was fascinating to ponder the shift in tone from songs about dreaming to angsty teenage frustrations and the kinships that are formed because of them, and then suddenly how many solos there were near the end in comparison to the start. There was a feeling of independence, or loneliness depending on how you looked at it. Through either lens, the show explored relationships with friends, parents, romantic partners and self. Interestingly enough, though we think of children as attached to their parents, the pieces form the teenage and adult era reflected much more on parent child relationships than the nostalgic ones, whether that be with a desire to make parents proud, or anger at not being properly taught about life. The show offered the choice succumb to the overwhelming doubt and injustice or rise and hold onto to te dreams of little you. Every young performer on stage has dreams they have accomplished and dreams to fulfill.

The team did not stray away from embracing cabaret elements such as handheld mics and the space and using them to their advantage. Certain songs were picked up in tempo slightly, which kept the night moving forward at a nice driving pace. The musician’s instruments could be heard more clearly in this setting than in the tracks I am familiar with and this was so impactful and immersive, particularly with the drums. I had the pleasure of interviewing Safin Karim, or “Saf”, who was the music director and pianist for the show:

What does each era represent to you?

"Childhood nostalgia gives me the feeling of big dreams and bigger emotions from trying to navigate them! The teenage dirtbag era feels like not only angst, but taking ownership of myself and finding my own person. As a young ‘adult’ which I feel like I currently am, I think this revolves around leaving no stone unturned and being open to life, no matter what form it takes."

What was the song selection process like? 

"So Garen, Audrey and I compiled songs that spoke to our senses of music theatre nostalgia. I logged into my childhood Spotify account and found all the musicals I saved” Safin started doing when he was 12 and 13, as the song in the show reflects, the bulk of them coming from around 2010.  Other songs came from the cast directly. 

Were the songs picked up a bit?

 “That's a personal thing I love to cook.”

“When you are reducing orchestral arrangements into a small set, in order to give the same vibe a slightly increased tempo can give an illusion of not grandeur but mass.”

Saf expresses great reverence for his fellow musicians and noted that in the cabaret setting with a less full orchestra, in an intimate setting, there was opportunity for individual instruments to be heard more than they would in a full production, which highlights their tracks. He selected a standard musical theatre set of electric and acoustic guitar, drums and piano and added a “Great brass instrument” trumpet for songs like Another Day of Sun, complimenting the musician “Devon Meddock on trumpet is a musical and human powerhouse”.

What does being a 2000s kid mean to you?

“Sitting in the back of my dads old car, downloading and saving albums to phone.”

When making a cabaret vs a musical or a music concert, what are you aiming for -how does working within the cabaret genre inform your work? 

“This is the one time we sing a song from a show and don't have to obey the constraints of theatre so make it your own the floor is yours. [It is] the only chance to work freely with songs we have."

This point of Saf’s was so evident in the show. The cabaret existed in its own world, completely owning what it was, allowing it to thrive. To view a cabaret setting as liberating and inspiring instead of distilled or restrictive.Safin elaborates he felt the “Importance is on telling an entire shows story within one song” In terms of ad-libbing and adding in moments, Saf says, “Especially in a cabaret setting, go up and have fun.”

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Safin Karim is an NYC based music director, vocalist and pianist, currently earning his B.M. In Vocal Performance (Musical Theatre) at NYU Steinhardt. Safin has had the honor of music directing, singing and playing at venues such as 54 Below, Don't Tell Mama, and The Green Room 42. As a pianist and coach, Safin has worked with Kelli O'Hara, Paige Davis, and has collaborated with Alan Menken and Michael Kosarin as an Assistant Music Director and rehearsal pianist. Find him at @mr.safinkarim and www.safinkarim.com

Producers Safin Karim, Audrey Link, Garan Salandy and the entire cast came together to create a night that was as fun as it was touching.

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