Review: CHRISTINE EBERSOLE WITH BILLY STRITCH at McCallum Theatre

I knew who Christine Ebersole was, that is - when you said her name I could immediately envision her face, hair and distinctive voice - but role-wise I often mix her up with Caroline Rhea, and Melissa Peterman. And in my mind she is in her 50s. None of those things are true. What is true? She was on SNL for one season (what?); she was in Tootsie the movie and a thousand other things; she has 2 Tonys (42nd Street and Grey Gardens) and a voice that makes you sit down and shut all the way up. 

At 72, Ebersole’s voice shows no signs of aging. She can still hit all of the notes, has amazing breath control, and there is no note she can’t belt (although there is more nuance to her voice than the word “belt”) or conversely deliver a note so sweet and soft it makes you close your eyes and just feel.

It does not hurt one tiny bit that her accompanist is Billy Stritch. That they found magic after a musical set up from their shared lawyer is evident not only by the ease, comfort, and support Ebersole clearly gets from Stritch on stage but holy wow their collab arrangements need to jump on my playlist today.  

They (because it is a true collaboration) opened with Lullaby of Broadway. It’s not the version we’re used to - jazz hands and tap dancing - Ebersole gives us what’s in its name, a lullaby, and brings it home not with speed but with conviction - like foot stomping music in the good church.  

That’s Ebersole showing you she can sing Broadway. Then she gives us some crazy good jazz and after that wows us with her operetta chops in How Are Things in Glocca Morra.

Of course Ebersole does songs from 42nd Street and Grey Gardens that paralyze you - but in a good way - and then we got to hear those wonderful collaborations like The Surrey with the Fringe on Top - an arrangement that at times made me feel the excitement of someone describing their first car. It was the first song she and Stritch ever arranged together, and that arrangement absolutely took us for a great ride.

I Only Have Eyes for You was as ethereal as Ice Hotel was moving, and You’re Getting to Be a Habit was a delightful day trip, culminating in her encore My Funny Valentine.

There is something about Ebersole that is comedic even when she’s not trying. But if you came for her to regale you with funny stories from the trenches in between songs - that was her last show. This show is all about the music, and the collaboration between two musicians who enjoy working together so much you can see it, hear it, and absolutely feel it - not just in the voices but in the killer arrangements.

Shout out to the supporting rhythm section who were terrific but not attributed in the program so apologies they are nameless here. 

If there is a light through line to the show it is her “greatest hits” and those tasteful but banger arrangements she and Stritch have put together through the years. And their banter is so personal you’ll feel like a fly on the wall in the rehearsal space after the first time they successfully nailed the arrangement. 

Will I make a point of seeing Stritch when he comes back to The Purple Room? Absolutely. His voice is so rich it feels like all of the rat pack combined into one voice. 

Do I know who Ebersole is now? I will absolutely never forget; her singing voice has been in my head since she sang her last note, and I’m looking forward to hearing the real deal outside of my head again some day. Should she come to a theatre near you, you’ll be thrilled you attended - with or without Stritch. But in my opinion, everything is better with a helping of Stritch.