Review: SCOTT SIEGEL'S BROADWAY: THE NEXT GENERATION at 54 Below

There’s nothing like the satisfaction of discovery. Some discoveries are bigger, better, or more surprising than others. Think of Balboa’s reaction when he was sailing along and noticed unexpected water ahead that turned out to be the previously unknown Pacific Ocean or imagine being the first to uncover the tomb of King Tut or to check out the charms of TOI-733b (a hitherto unspotted planet astronomers became aware of in recent times). Or remember the day you were spending time on YouTube and stumbled upon the unsold TV sitcom pilot starring Bette Davis as an interior decorator — that you never even knew existed. Or perhaps you were lucky enough to see a couple of shiny pennies on the street on your way home from a night at 54 Below. Let me now add my two cents to the applause-garnering presentation of talented young singers at that venue, spread over two nights, which brought forth a bounty of delightful discoveries when the Manhattan venue’s stage was filled with performing arts school graduates chosen from auditions for Scott Siegel’s Broadway: The Next Generation. Maybe you’d be more excited about going to TOI-733b, but I like the convenience of the West 54th Street Manhattan location instead of the one that’s 245 light-years away. And its atmosphere is more hospitable.

If you think of performing artists as beverages (bear with me here), then, oh, sure, the long-careered pros offer something rich akin to well-aged vintage wine to savor, or longtime favorite brews, honing and refining their repertoire with great detail. But young talent -- ready, willing, and able -- makes us tipsy with their differently delicious fresh flavor: genuinely sweet, bubbly, fizzy with their grateful joy of performing. If only the bartenders at 54 Below could bottle those qualities! The point is: This kind of show is just a differently rewarding thing, like apples and oranges— or apple wine and orange juice with vodka. Well, that’s my drink order analogy, and I’m sipping to it. On with the show review.

There were separate sets of performers (many with BIG voices, most referencing big dreams) across two consecutive nights, for a total of 19, each getting his, her, or their own solo. There were no repetitions on those, but the four songs chosen as grand full-group numbers were the same ones. So, I thought I’d just write one review covering both programs, without being relegated to specifying who was there on August 16th and who was present on the 17th, or the order of the songs. They (the singers and the songs) were fortunate to have Ron Abel at the piano, supportively yet artfully, guiding them.  He, along with performer Bill Daugherty in the role of vocal coach/instructor, had joined the dedicated director/producer/emcee Mr. Siegel and his unbilled right-hand Mrs., the “nurturing” co-advisor on repertoire, lyric interpretation, wardrobe (and probably life) — Barbara Siegel — for days of individual and group rehearsals as part of the program gifted to the selectees.  

Under the title Broadway’s Next Generation, the concert concept is the next generation of what was born as Broadway’s Rising Stars, held annually at The Town Hall. There have been numerous cases of young people showcased in those shows who have gone on to be cast in Broadway productions (such as three alumni in Hamilton and three in Beautiful: The Carole King Musical), and theatre productions and music gigs around the country or around the corner (twins Matthew and John Drinkwater come to mind). The most prominent example is Ali Stroker, who won the Tony Award for her role as Ado Annie in the revival of Oklahoma! 

Scott Siegel’s affectionate, concise introductions had the recurring theme of early experiences seeing/doing theatre as motivating factors in making the participants pursue performing with the intensity that became palpable in what the audience would witness as they made their New York cabaret debuts.  And he emphasized the importance of support from family and mentors. Both concerts began with the full company in full force with the heartfelt plea “Listen to My Heart.” They sounded strong together and, as each got brief solo lines in turn, those little previews of their personalities, tones, and timbres served as anticipation for what was to come when each would take the stage alone. Scroll down for photos of each and every singer, all taken those nights by Sophie Rapiejko, a talented singer herself who was among Broadway’s Rising Stars a few years ago, and who has gone on to parts in regional theatre as well as other concerts at 54 Below (Sophie will be back on September 9).

Determination to succeed in show biz and the need for confidence in overcoming potentially overwhelming obstacles were frequent themes in the various solos, as well as the other three ensemble numbers.  Where there’s a will, there’s a way, and I will say they came off as having willpower in every way.  You could hear it in their assured promise about the future, “You’re Gonna Hear from Me,” and the reflective song about someday making the past a legacy to be proud of (“I Was Here”). They came off as inspired and inspiring when they came off the stage to spread out in the room, surrounding the audiences’ tables while harmonizing (without microphones or artifice) for “Climb Ev’ry Mountain,” the Rodgers & Hammerstein anthem.

The same writing team was represented by the similarly encouraging “You’ll Never Walk Alone,” a solo for Izaya Perrier.  He delivered its double potential of soothingness and strength without sounding pat or preachy, seeming genuine and empathetic instead.

Songs written for musical theatre were dominant during the two nights. Already added to other group concerts in 54 Below’s schedule were three folks from this program (and there will be more)!  Having dazzled the crowd with a gutsy take-no-prisoners parade of perseverance with “Don’t Rain on My Parade,” Danyele James was booked to join the established performers for Scott Siegel’s August 26 edition of his ongoing Broadway’s Greatest Hits series, and Senna Prasatthong, whose interpretation of “Being Good Isn’t Good Enough” had authenticity and focus throughout was commanding, recently played a group show at 54 Below, as well.  And when  September 2 rolls around, two of the Next Generation will be in another of its volumes (#115! but who’s counting?).  They locked into the key emotions appropriate to their selections: Melanie Puente Ervin earnestly communicated the need to be needed in a nicely nuanced reading of “You There in the Back Row” by Cy Coleman and Barbara Fried.  And in “I Can See It,” bursting with optimism and hunger for adventure, Noah Robert Detar burned with that fervor.     

Musical theatre material soared with ideas about being one’s “best self” and not being bound by the past. John Cardea, Jr. rewardingly mixed some vulnerability into “I’ve Gotta Me”’s eyes-on-the-prize conviction. Dory Lorenz was touching, as she enveloped a character ruminating about what she had missed out on in “The Life I Never Led.” Demiah Williams took on “Be a Lion,” seeming to be kind of a kindly life coach singing gloriously with advice to embolden someone else (or herself) for times when courage is required.  Yes, everyone needs encouragement, as demonstrated by the story song “Without a Believer” (cut from the score of Waitress), adeptly handled as a warm narrative by Chandler Sinks. It was a welcome item on the musical menu.

But, wait—there’s more!  Remember, after all, I’m covering two different shows in one review.  Anyway, the theatre-born gems kept on coming.  The glow of excitement was on Annika Stenstedt’s face and her kinetic celebration of  “The Spark of Creation.” Molly Bremer, brimming with emotion, hit a home run with “Home” from Maury Yeston’s Phantom score. A wistful wish to be able to recapture happier thoughts held in the past was beautifully captured by Benny Rose as she endearingly yearned for “A Way Back to Then.” 

There was also material from the screen, although, in all cases, written by people who also create scores for the stage. And, again, there was an emphasis on subjects of self-empowerment, self-confidence, and self-awareness.  Two selections came from the world of Disney animated movies.  One gave charismatic Jack D’Emilio the chance to embody young Hercules’ faith in his ability to “Go the Distance” with disarming guilelessness.  And Chelsea Hooker was especially ingratiating in the upbeat “Almost There” from The Princess and the Frog, a smile-inducing treat. Live-action cinema was represented by something introduced in The Greatest Showman, Ann Stein’s unflinching declaration “This Is Me,”  replete with the required resolve to deflect all slings and arrows of outrageous fortune.  The TV series about fictional Broadway musicals that is on the road to being an actual musical on Broadway itself, Smash, is ripe for the picking and Marina Yiannouris picked something from it; she gave “Let Me Be Your Star” just the right amount of beseeching without screeching so that she was reaching the zeal without going over the top. And that brings us to the song titled “Smash,” done justice by Talitha Jones with panache and polish. 

Rising to the occasion to deftly handle a throbbingly poetic, poetic, and vocally challenging piece, Neil Devlin scored with “Flight” by Craig Carnelia.  And many in the room must have been thinking, at some point, the sentiments simply summed up expressed in the title of the ABBA hit  “Thank You for the Music” before, during, or after Tali Golergant graced us with it. What would be merely feel-good fluff and bounce in other situations morphed marvelously into something much deeper and far more thoughtful, thanks to her involved, personal perspective. 

Broadway’s Next Generation generated big hope for the future as these worth-discovering young artists sang of their own big hopes.

Find great shows to see on the 54 Below website HERE.

All photos by Sophie Rapiejko

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