It's hard to believe that 2014 is already half over and that the 2013 BroadwayWorld New York Cabaret Awards Show at Joe's Pub happened just about four months ago. This also means that the nomination period for the 2014 Awards is only four months away (end of October, with the final voting period beginning after Thanksgiving). It is with all that in mind that it seemed time for this column, which announces the 2014 BroadwayWorld New York Cabaret Awards categories and changes in the nomination process so that all you cabaret fans can start making mental notes of the year's potential nominees. (To help you in that process, in a few days I'll be posting my 'Mid-Year Report Card on the 20 Best Performances and Shows' so far in 2014 (going back to November 2013).
A year ago this summer (July 31, to be exact), Terri White performed a one-off show at 54 Below that was so stirring in its show-woman ship she was voted the winner of the 2013 BroadwayWorld New York Cabaret Award for 'Best One-Show Special Event.' Based on the Broadway and nightclub veteran's performance in her recent June 22 show at the same club, White should be a candidate to pick up the award once again this year. Maybe it's time to just call her, 'Terri Terrific.'
When Margaret Whiting died on January 10, 2011, the news was like a dagger into the heart of the New York cabaret community. Whiting was a beloved singer for almost seven decades, who seemingly delivered every American popular song ever written, conquered almost every musical art form--from Big Band to Country to Musicals to Cabaret, from radio to the recording studio. On top of all that, Whiting worked with and mentored many New York cabaret musical directors and performers, including the late Mary Cleere Haran and K.T. Sullivan, who along with Whiting's daughter Deborah, hosted a 90th birthday Whiting tribute show on Monday night at Carnegie Hall's elegant Weill Recital Hall. Presented by The Mabel Mercer Foundation, for which Sullivan is Artistic Director, It Might As Well Be Spring! A Celebration in Song of the Life of Margaret Whiting was an almost three-hour concert featuring two All-Star teams worth of cabaret stars spanning a few generations.
The biggest challenge in personalizing a tribute show is when the set list is structured to tell a story about the performer's life. Those songs better be good, that life better be interesting, and that storytelling patter better be clever, humorous, and self-deprecating or an audience (let alone a reviewer) will tune you out quicker than a liberal accidentally hitting FOX News on the remote. I recently saw two different shows at The Duplex from enchanting young women performers—Carly Ozard and Nikki MacCallum--who deftly managed to weave their love of a singer (Bette Midler for Ozard) or a songbook (Kander & Ebb for MacCallum) into a tale of life journey and personal growth to produce charming and entertaining shows.
In the TV musical comedy-drama, Glee, the award-winning actress Jane Lynch plays the deliciously evil high school cheerleading coach-turned-principal Sue Sylvester, who is constantly trying to sabotage the efforts of the school's glee club to compete in singing competitions or even exist. It's a good thing nobody tried to prevent Lynch from taking a real-life crack at nightclub singing, as her debut show this past week at 54 Below (the last show is tonight at 8pm) was a delightful breath of cabaret fresh air.
Rising cabaret star Marissa Mulder's most recent performance of 'Living Standards' at the Metropolitan Room was certainly up to the high standard she has set for herself over the past couple of years. In fact, she's so consistently solid that she overcame the show's misguided and clunky premise that some very good contemporary songs should be thought of as 'standards.'
Cabaret performers thinking about launching duo shows could certainly take a lesson in chemistry from watching and listening to singer Karen Oberlin and guitarist Sean Harkness in their current show, A Wish, which is based on their superb recently released CD of the same title, launched with two shows at Kitano on February 1 (to celebrate the CD release), and has taken up a once a month residency until late August at the Metropolitan Room (the next show is on June 25 at 9:30 pm). While theirs is not a romantic off-stage chemistry (both are happily quite happily married, thank you), on stage and in the recording studio Oberlin and Harkness have concocted a delicious musical interaction that conjures up romance to the nth degree.
Peggy Eason is one of those characters who seem to have been made for the New York cabaret scene. She's a bodacious woman who is ubiquitous at the local clubs, possesses a passion for singing, and bills herself as the 'Chocolate Diva,' although on stage she's more like a Red Hot Mama. Eason opened her third solo cabaret show, I'll Show Them All, at Don't Tell Mama on Monday night (she's appearing again at the club on Sunday at 7pm) with the decidedly politically incorrect titled song written especially for her by David Conforte, 'Black, Blind and Beautiful' (Hey, 'African American, Visually Challenged and Beautiful' doesn't have the same ring to it.). But there was little that was incorrect about her fast-paced and entertaining show that was often poignant and funny at the same time.
I never thought that writing a rave review would be more difficult than constructing a less than positive critique, but Carole J. Bufford, damn her, is causing me creative problems. That's because for the third time in three years I'm compelled to praise this attractive powerhouse cabaret singer to the skies (you can find my two previous essays on her unassailable talent here and here) and my author's arsenal contains only so many superlatives. With yet another outstanding performance last Thursday night at the Metropolitan Room, the young woman who was named BroadwayWorld.com's 2013 Cabaret Vocalist of the Year has snatched my mental thesaurus (not to mention my online one) and trampled all over it. She's given me the writer's block blues.
If you are even a semi-regular reader of this column of reviews, you know that about every three or four months, I post a compilation of observations of shows from the previous quarter of the year. This cabaret critiquing mash up happens for a number of reasons, not the least of which is that I admittedly see too many cabaret shows for the amount of time I have to promptly review them (and then, of course, the usual writer's procrastination sets in). So I have to prioritize the timeliness of the reviews based on the prestige of the performer, the length of a show run, the strength (or lack thereof) of the performance, etc. The quality of the shows in these compilations—which can range from a half dozen to a dozen reviews in one shot—are usually a mixed bag of outright raves, qualified positives, and constructive pans (I'm not a fan of the word “negative” in the reviewer lexicon). With that in mind here are a collection of cabaret show reviews going back to the start of a very harsh winter.
Ageless 86-year-old cabaret superstar and living legend Marilyn Maye performed her second show of yet another run at 54 Below (which continues May 9 and 10 at 8:00 pm, and May 13 at 7:00 pm), this time built around a tribute to the iconic comedian and talk show host Johnny Carson whose pet name for Maye was 'Super Singer.' Maye appeared on The Tonight Show Starring Johnny Carson 76 times, more than any other singer.
Scott Siegel is two-for-two. The diminutive and indefatigable nightlife/cabaret impresario of such productions as Broadway By the Year and the Nightlife Awards at Town Hall, as well as regular variety shows like Broadway Unplugged and Broadway Ballyhoo, last fall decided to give the already skyrocketing cabaret career of Georgia-born southern belle Carole J. Bufford a booster shot when he became the producer, director, and co-creator of Bufford's latest effort, Body and Soul (which this Thursday night at 9:30 begins a weekly run at the Metropolitan Room). Siegel didn't waste much time finding another promising female singer to champion, producing and directing six new shows (on Wednesdays and Sundays between April 27 and May 14 at 7pm) featuring a lovely soprano who is also from the south—the south of Ireland, that is. Thirteen years ago, recently minted American citizen Maxine Linehan was just another starry-eyed singer/actress who traveled to New York City with dreams of a musical theater career. Today, if her May 4 performance at the Terminus Recording Studios is any indication, Siegel has another budding star on his performer roster.
I was just a little more than a year into my new side career as a cabaret show reviewer when I first saw a Karen Oberlin show. It was Valentine's Day night 2012 and Oberlin—with guitarist Sean Harkness and guest violinist Aaron Weinstein—would be performing her romance-laced set, Stringing Along With Love, at the Metropolitan Room. At the time, all I knew about Oberlin was that she was considered among New York's best female cabaret singers, and I hadn't researched her performing history pre-show. About a third of the way into her set I leaned over to my wife (it was Valentine's Day after all) and whispered, “You know, she has a real Doris Day quality in her voice and in the way she delivers some lyrics.” This immediately ratcheted up my appreciation for Oberlin since there are four passions I inherited from my Dad—baseball, reading the morning papers, sports writing and Doris Day (well, also Sophia Loren, but that's for another column). Since Dad had grown up during the prime of the Big Band Era of the 1940s, I heard the sultry sounds of a young Doris Day singing songs like “Sentimental Journey” on the family stereo more than a few times. Once I saw Day's strikingly adorable blondness on a record cover and her rocking body in one of her films, I knew what Dad was talking about. As popular, famous, and near iconic as Doris Day became, in my book, as a singer and screen beauty she's always been vastly underrated. Little did I know that Karen Oberlin had been doing a Doris Day tribute show so since 2001 at places like Firebird, Iridium, and the late Danny's Skylight Room, and produced a CD, Secret Love: The Music of Doris Day, in 2002. Karen Oberlin had instantly become my secret love.
Coming up this week, 54 BELOW, the performance venue located just below the legendary Studio 54 at 254 West 54th Street, presents some of the brightest stars from Broadway, cabaret, jazz and beyond:
When Mark Nadler last performed a solo show at 54 Below, it was a very personal musical exploration of Germany's Weimar Republic of the 1920s, a place and an atmosphere that was dark, dangerous and decadent. I'm a Stranger Here Myself was such a compelling tour de force that it was expanded into a highly praised off-Broadway piece that Nadler staged at the York Theatre last Spring. Nadler's new 54 Below effort, Runnin' Wild: Songs & Scandals of the Roaring Twenties, (which opened last Sunday, ran last night, and will also play on May 7 at 9:30pm and May 14 at 7pm) is like a playful and debauched sequel to Stranger, only in this show—which would be more aptly titled “Reckless Abandon”--Nadler is clearly a gleeful member of the club. To this passionate piano man, America's big cities in the pre-Depression era 1920s were happy, hungry, and hedonistic. There was always a party filled with sex, drugs and booze looking for a place to happen. And goodness knows, Mark Nadler wishes he'd been invited to every one of them. But since he was born too late, all he can do is serve as congenial host in re-creating the speakeasy ambiance and in this show he manages to accomplish that--only without the sex and drugs. Damn!
I'll drink what he's drinking. Because given the youthful aura and energy 75-year-old Broadway legend and nine-time Tony Award winner Tommy Tune displayed on Tuesday during the opening night of his debut run at the Cafe Carlyle (Really? After 55 successful years in the biz?), he must be knocking back martinis from the fountain of youth. In his aptly-named new show, More Taps, Tunes and Tall Tales, the 6-foot-6 entertainer (whom Fred Astaire acknowledged at their first meeting in the early 1980s by saying 'You're one tall son of a bitch') danced, sang, and, like a seasoned raconteur, regaled his audience with anecdotes about his colorful career, doing it all with the boyish charm he must have possessed when as a kid growing up in Texas he dreamed about being on Broadway.
It took Lucie Arnaz her entire professional life to get booked for a solo nightclub/cabaret show at the Cafe Carlyle. It turned out to be worth the wait-for herself and her audiences-and her weeklong run at the stylish club (that began on April 13 and ends with shows tonight at 8:45 and 10:45) would no doubt have made her famous parents--Lucille Ball and Desi Arnaz--beam with pride. Lucy might have erupted into a joyful crying jag, while Desi would have kvelled in his signature rapid-fired Spanish because when it comes to her performance on a cabaret stage, Lucie Arnaz doesn't 'got some 'splaining to do.'
As a young veteran of the New York cabaret scene and someone who rests comfortably in that performer's purgatory between celebrity and what the folks at the Manhattan Association of Cabarets and Clubs (MAC) calls “Major Artist,” Marieann Meringolo certainly doesn't need validation from a Stevie-come-lately reviewer like me. But nobody bats 1.000—in baseball, life, or cabaret—and, frankly, I didn't cheer in print for her slightly pretentious 2013 show Orchestrated, which seemed to feature a band big enough to bust through the far wall of the Metropolitan Room and arrangements that were more than a tad overblown. But in 2011, I loved her annual holiday show, In The Spirit, and had heard nothing but great things about her 2012 tribute to the music of Michael Legrand, so I was willing to consider Orchestrated a mere hiccup—depending on what she came up with next. Well, next arrived on the afternoon of Saturday, April 5 afternoon with Meringolo's new show, Crazy Love, at the Metropolitan Room.
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In the late '70s, Vivian Reed captured a Tony Award nomination and won a Drama Desk Award for her work in the Broadway musical Bubbling Brown Sugar, and although Reed has delivered some critically-acclaimed work in the many years since (a Tony nomination for the 1992 musical The High Rollers Social and Pleasure Club and a star turn in the revue Three Mo' Divas), during the last decade she had gone and stayed away too long, mainly to take care of her ailing mother. Last November, she dipped a toe in the New York nightclub waters, producing a one-night show at 54 Below that was highly praised and offered hints of great things to come. But this past Monday night—the first of what will ultimately be a four-show run of “An Evening With Vivian Reed” (the next three dates are April 14, May 20 and June 19)—this performing powerhouse established her return in earnest. With Reed's still expressive voice tackling musical genres ranging from R & B to Jazz to Great American Songbook standards to Gospel (even a dash of Opera), her electric and passionate show was cabaret/nightclub performing as revival meeting in more ways than one. Reed is not only reviving her singing career, she is inspiring impassioned converts at the same time.
