Interview: Jeff Harnar On KNOWing How To Make His Heart SING SONDHEIM

Multi-awarded cabaret singer Jeff Harnar will make his Feinstein's at Vitello's debut with his cabaret act I KNOW THINGS NOW: JEFF HARNAR SINGS SONDHEIM September 30, 2021. With a lengthy resume as an opening act. Jeff has played some of the biggest venues, including Carnegie Hall, all over the world. Had the chance to find out what THINGS Jeff KNOWS NOW.

Thank you for taking the time for this interview, Jeff!

Thank you, Gil. I'm the son of a P.R. man so I was raised knowing the value of column space. It's incredibly kind of you to share your column with me to create some awareness about my upcoming show at Feinstein's at Vitello's. I haven't appeared in L.A. in 20 years, back at the Cinegrill, so this is hugely helpful.

You have a dozen solo shows in your repertoire. When did you start putting together I KNOW THINGS NOW?

This adventure really began in 2014 when KT Sullivan called and asked if I'd like to do a show with her ... singing Sondheim. I was 55 at the time and had never had the courage to approach Sondheim's words and music onstage. I thank KT for giving me that courage. It was at the start of that project that I said to KT, "I love you dearly, but I don't want to sing 'I am in love' songs to you. If I'm true to my sexuality, it opens up a lot of options with songs originally intended for women to sing to men." Well, she loved that idea and that was when the universe of Sondheim songs opened up for me. KT and I did three Sondheim programs together, including one that was filmed for PBS. And Mr. Sondheim actually came to see us! Talk about terrifying! He was incredibly kind and he's remained in touch ever since, so that's nothing short of spectacular.

It was on the heels of that charmed collaboration that I challenged myself to imagine a solo Sondheim show. It was also singing Sondheim with KT that allowed me to 'come out' onstage - not that it was much of a secret - and I yearned to see how a full program of that would feel on my own.

How long does it usually take for you from embryo of an idea to a final set list with patter scripted?

It's different with every project, but my credo is to give myself "the gift of time." There is no substitute for the kind of mastery that comes with time. I want to the material to be so much a part of me, that I'm free to be alive to every moment and every choice in the actual performance. There's huge joy in that ... and consequently, huge terror if I feel underprepared. I KNOW THINGS NOW took about a year of preparation before we opened in London in 2020. Little did I know there'd be such an unexpected "gift of time" during the pandemic between then and our American debut on September 30th at Feinstein's at Vitello's.

And as for patter, interestingly in this show, other than a welcome to the audience at the top, every word out of my mouth is a Sondheim lyric. The show is virtually sung-through. I have absolutely nothing wiser, funnier, more profound or more personal to add than what Sondheim has given me in the lyrics I've chosen. The show is a self-portrait in song. The words and music are his, but the story is mine.

What is it about Sondheim songs that draws you to interpret them?

For me, cabaret is storytelling and is a lyric-driven medium. Whenever I launch into a new project I start with the lyric. With Sondheim's lyrics as my ammunition, I have a way to give expression to a rainbow of emotions. I so identify with how he sees the human experience in the lyrics I've chosen. The love songs I've included are replete with all the ambivalence, fear, courage, and risk that falling in love has been in my own life. Sondheim understands the heartbreak, the rage, the hope, the "figuring it out" that is, quite literally, being alive. And all of this is expressed with his wonderfully clever, witty, brilliant use of language. And of course, I'm always on the hunt for humor. Sondheim abounds with comedic surprises.

One other element to this show worth mentioning is that I've assembled the lyrics almost like a collage. I've found certain lyrics that when pieced together allow me to make uniquely personal statements. Even though the show is only an hour, there are some 26 songs woven through it. And another choice: all the music is Sondheim's. I've not included any of his collaborations with Jule Styne, Leonard Bernstein, or Richard Rodgers, for instance.

What other songwriters besides Sondheim do you love to sing and perform?

Until Sondheim, the composer-lyricist who afforded me that unique affinity to my own sensibility was Cole Porter. I'm so at home in his language. And again, Porter is a lyricist who plumbs the depths of the human heart. When you're onstage in a cabaret show, unlike a flashy Broadway musical, it is just "you and the night and the music." If those lyrics aren't fascinating - good luck. Mr. Porter, like Sondheim, is there with the passion and there with the patter songs. Hugely fulfilling. I also adore Sammy Cahn; I did an entire album of his lyrics, Sammy Cahn All the Way. Add to that list Yip Harburg, Alan J. Lerner, Johnny Mercer, Lorenz Hart, Howard Dietz, Frank Loesser and add some new kids on the block, David Zippel, Amanda McBroom, John Bocchino, Craig Carnelia, David Friedman ... and I could go on singing.

September 30th will be your Feinstein's at Vitello's debut with I KNOW THINGS NOW. You played this show at London's The Pheasantry for three nights January of 2020. Any audience responses there take you by surprise?

I love the London audiences. They are predisposed to appreciate language. They revere the American Songbook and they seem especially delighted to hear Americans singing from that songbook. Win-win. The biggest surprise during those three nights was to find myself face to face with Shelia Hancock, sitting ringside. She originated the role of Mrs. Lovett in the West End premiere of SWEENEY TODD. How she found us, I'll never know. She graciously hung around after the show to share some anecdotes of her personal terror of tackling that Sondheim masterpiece. She was enormously gracious and warm to us.

I KNOW THINGS NOW was booked to play at Feinstein's 54/Below March 18, 2020. What went through your head when you found out it was 'postponed'?

Well, of course that was a big kerthunk. I'm so grateful we had those three nights at The Pheasantry in London just prior. Had I not gotten to debut the show at all it would've far more disappointing. We had such a magical weekend of shows - my heart was very full. But that week was also the week of Mr. Sondheim's 90th birthday (March 22nd) and the opening of the Broadway revival of COMPANY, so I knew others were experiencing a far greater disappointment than mine. And, as I mentioned before, there's no greater gift than more time to get the material in my bones, and no greater gift than getting to step away from a project to get some renewed perspective.

How long have you and your musical director Jon Weber worked together? What cosmic forces initially brought you two together?

Once again, KT Sullivan was the conduit that brought me together with Jon Weber. Jon Weber! He's a headliner in his own right and I'd certainly known his work before KT connected us. Here's the thing that makes Jon so uniquely special on this project for me: Jon is jazz virtuoso. In my journey to personalize these songs and divorce them from the plots of their various musicals of origin, Jon's jazz sensibility was, for me, revolutionary. In fact, when Mr. Sondheim saw our first show his comment to Jon was, "I love the changes. I wish there were more." Jon is also a wonderful collaborator. In improv they say to work with "yes-and" people (rather than "no-but" people). That's Jon. If I bring him a color or texture or an idea for a song, his first response is always, "Let's do it." Onstage there's a wonderful sense of "conversation" going on between us. Yes, the arrangements are the same each time and yet there's always a sense of spontaneity to them. He's a marvel.

I must pause here to give a shout out to Alex Rybeck, who has been my Music Director on virtually every show I've done since we made our cabaret debut together in 1983. It was my dream to come to New York and find someone like Wally Harper, who had so much to do with Barbara Cook's reinvention as a cabaret artist. Who knew I'd find a musical partner the very first time out of the gate? Alex and I are still collaborating and performing together after 38 years! Very few get that gift of time. My four solo albums are all with Alex arranging, conducting, playing and often singing with me. And thus, the choice to work with Jon Weber on the Sondheim project is one more way it's been a very unique experience and one more leap out of my cabaret comfort zone.

What twist of fate brought Sondra Lee into your orbit?

Once again, KT Sullivan "put her hand in there." KT suggested Sondra would be the ideal Director. Sondra Lee! In my childhood, Mary Martin as PETER PAN flew into my living room once a year - oh, the joy of appointment TV! I've known Sondra Lee's name since the dawn of my love of Original Cast Albums. It was hugely intimidating when we began ... actually, it still is. She's tough. She's blunt. She's the truth. She was exactly what I needed as I approached the Sondheim songbook. She is my 'truth barometer.' As Sondra directs me, my task is to "state the facts" and "tell the truth." Sondra is ultimately a bundle of joy. She loves to rehearse. When I call with the schedule she always exclaims, "Oh, goodie!" She's alive to everything; it's humbling and contagious. She's also 91, which is only worth mentioning because she's anything but 91 years old. She truly found Neverland.

You have a very complimentary quote from Liza Minnelli on your website. Can you recall your first meeting?

Surprisingly, KT Sullivan did not bring Liza into my life! There was a wonderful window of time when Liza was dating Billy Stritch and one of her besties was Jim Caruso. Those two dear men invited me into that rarified air. Liza was playing Radio City in STEPPING OUT, just a dazzling time in her career. Thanks to those boys, Liza came to see my shows a few times - which was heart stopping. But the most memorable nights were the two times she asked me to perform my shows at her Manhattan apartment. There really aren't words to describe how meaningful those encounters were. Liza is a celebrity who is everything and more than you'd hoped for: extremely warm and welcoming, dizzyingly funny, and incredibly generous with her support and performing suggestions.

Besides your selection of solo shows, you also have a half-dozen duet shows. Which do you prefer: sharing the stage or going solo?

I love performing all my shows, they're each an expression of my point of view and passion, whether alone onstage or with a partner. I've had the gift of significant collaborations with KT Sullivan, Andrea Marcovicci and Sally Mayes and that's like being in a master class to see them work from the best vantage point in the house.

I'd love to share a story about my work with Shauna Hicks (star of Broadway's BLOOD BROTHERS, First National Tour HOW TO SUCCEED). Shauna and I met as singing waiters in 1987 at Mrs. J's Sacred Cow. Years later, after both of us were having some professional success, she suggested doing a Mickey Rooney-Judy Garland show together. In the true Mickey & Judy "let's put on a show" tradition, we began in the 70-seat Firebird Café, with piano-only accompaniment, then graduated to 7-piece bands on various cruise ship gigs, and ultimately ended up with a two-act 65-piece symphony "pops" concert version that we've played around the country, including at New York's historic Town Hall. Talk about a dream fulfilled. But perhaps the most memorable performance was in Liza's living room with Michael Feinstein in attendance. Wow! And poor Shauna! Imagine singing Judy Garland songs to Liza Minnelli? It was surreal. Interesting sidenote about Liza's spot-on instincts: Liza saw our one-hour cabaret version. After Shauna and I sang, "I Wish I Were in Love Again," Liza shouted out, "End of Act One!" Well, when indeed the show expanded to two acts that number did in fact become our Act Once finale. I marvel at how her mind works.

You're performed on a number of cruise ships. Would you share your pros and cons of cruise ship gigs?

The pros: it's paid work! Unlike on land, I'm typically working with the band onboard so there are no musician salaries. It's also fantastic seasoning. If you can hold an audience that didn't buy a ticket to see your show, you're doing something right. Face it, ship entertainers are like one more buffet. An audience can take a song or two and move on. When they stay it's hugely affirming; when the stand at the end, it's triumphant.

The cons: typically, as a guest entertainer I get one 90-minute rehearsal with the band the day of my show. That's it! If you're any kind of perfectionist, check that baggage shoreside. It's about acceptance and faith. I liken it to a bungee jump! Tommy Tune gave me a great piece of advice, "If you don't get the tempo you love, love the tempo you get."

One more huge pro is the audience that has continued to follow me afterwards whenever I'm performing nearby. In fact, there will be several in attendance at Vitello's who I first befriended from my shipboard gigs.

Tell us about opening for The McGuire Sisters at The Carousel Dinner Theater in Akron, Ohio in 1991.

Wow, Gil you do your research! My McGuire Sisters story is near and dear to my heart. You asked earlier about "cosmic forces?" Well, listen to this one: I met them when I was a room service waiter at The Regency Hotel on Park Avenue in 1985. Six months later, Phyllis McGuire, the lead singer, hired me away to work at her new Manhattan Townhouse. How did that happen? She and I literally ran into each other on the employee elevator. It was the last day for both of us at the hotel. I had just been let go because of a "slump." Why Phyllis McGuire was on that elevator on that day at that moment - who knows? Had I been two minutes earlier or later, the next 35 years wouldn't have happened. Add to that bizarre twist of synchronicity, Phyllis and my mom were both Valentine's Day babies; and Phyllis's mom and I, were both born on July 27th. Odd or God? In Yiddish they say beshert. And indeed, it was. For two years I was Phyllis McGuire's houseboy at 17 East 75th Street - two very exciting years, as it was the McGuire Sister's reunion after 17 years. Those two years, which I liken to a second college education, gave me the inspiration to move on to begin focusing on my cabaret work. In 1990 Phyllis called to say, "We're in Reno reading your review in Variety and we think you should come open for us!" And that's how that came to pass. Phyllis and I remained friends until her passing last December. She was an incredible champion of my career and I miss just knowing she's on the planet.

What's in the near future for Jeff Harnar?

We are in the planning stages of recording the Sondheim show as an orchestral studio album with PS Classics. That's the most significant project underfoot. I'm also working as a director, and I have several shows in the pipeline for other cabaret artists that are about to open. In fact, September 29th, the night before my show at Vitello's, Therese Lee will debut her show there, RIDING THE BUS TO THE RED CARPET, which I directed. I'm flying in early to be part of that excitement. I think it's a wonderful show. I'm so pleased with our work together on it. Then I head down to San Diego to open a show for David Dooley, another singer I've met and directed via Zoom, for his show I'M GLAD I'M NOT YOUNG ANYMORE. I'm so grateful for Zoom. What did they do during the Spanish Flu of 1918 to stay connected?

Thank you again, Jeff! I look forward to seeing and hearing you September 30th.

Gil, I'm so thrilled you can fit the show into your schedule. And I'm so grateful, as my dad would say, for all the column space you've given me to ramble on about what makes my heart sing.

For tickets to the Jeff Harner's LIVE one-nighter September 30th, log onto www.feinsteinsatvitellos.com