Some people, especially some cabaret reviewers and cabaret fans, might think it's lazy or a copout or both for a performer to keep recycling previous shows. But when the Café Carlyle comes a'callin' you: A) May not have enough time to create a totally new show or B) Want to pitch the big game with your best stuff or C) All of the above. Since I only started reviewing cabaret in late 2010, I missed the Laurie Beechman Theatre debut of Jennifer Sheehan's 2009 show You Made Me Love You: Celebrating 100 Years of the Great American Songbook, and missed it again when she brought it to the Metropolitan Room in 2010. So I, for one, am not complaining that she dusted off the critically praised set again (with the new slug 'Timeless Classics and New Treasures' from said Songbook show) for her debut last Saturday night at the prestigious Café Carlyle. Sheehan may have been booked for the room's new 10:45 late night series and not the prime time slot, but at least the Carlyle is giving opportunities to exciting young cabaret performers like Sheehan (and Marissa Mulder, who will make her debut at the room on November 7). With You Made Me Love You, Sheehan made everything old new again-at least for me.
Two years ago I heard the relatively new “Marquee Five” perform a show at the Laurie Beechman Theatre called “8-Track Throwback,” which was a five part harmony homage to the music of the 1960s and '70s. They hadn't gotten even halfway through their set when I realized that in Marquee Five I'd heard my Manhattan Transfer for the new millennium. Marquee Five's style is less jazzy and more pop than the Transfer, and their sound is infused with the tones of a co-ed barbershop quintet, Broadway belting, and holiday season caroling. Marquee Five's new show last Saturday night at 54 Below did nothing to push me off their bandwagon. In Broadway By the Letter: Act One (a set of songs representing the first half of the alphabet), this fabulous five-some once again delivered delicious harmonies on a variety of song styles, standout individual performances, and intricate yet accessible vocal arrangements.
As a 20-year cabaret veteran and 10-time MAC Award nominee (winning three), Sue Matsuki is nothing if not ambitious and a tad pretentious. How else to explain someone with both the chutzpah and the checkbook to stage a run of four shows at the Metropolitan Room (soon to become six) in which each show covers a different musical genre with a totally different set list and employs different directors, musical directors and bands? Just writing that sentence has me clutching my checkbook for deal life.
Attention cabaret lovers: It's time to start remembering the great shows you saw in the past year and who performed in them so you can make your nominations for the 2nd Annual BroadwayWorld.com New York Cabaret Awards. The nomination period will begin on Monday, October 28, 2013 and will end on Sunday, November 24. After the final nominations ballot is announced, voting will begin on Monday, December 2 and end on Sunday, January 5. The winners will be announced the week of January 6. This year's 2013 BroadwayWorld.com New York Cabaret Awards Show will be on Sunday, February 23 at 6:30 at Joe's Pub and BroadwayWorld.com lead New York cabaret reviewer and columnist Stephen Hanks will host a show featuring performances by many of the winners.
Over the last 20 or so years, there have been three nightclubs in New York that have been considered the venue Holy Grail for cabaret singers. Two of them--the Oak Room at the Algonquin Hotel and Feinstein's at the Loews Regency--have in the past year or so sadly died a corporate death, leaving the upper east side Cafe Carlyle as the Carnegie Hall of cabaret haunts. When she first came to New York from California 24 years ago, Natalie Douglas would save her pennies to see the legendary Bobby Short perform at the Carlyle and dream that she would some day star in a show from that stage. Last Thursday and Friday night, after almost a quarter century performing in every New York venue on the cabaret map and many prestigious clubs around the world, and after winning numerous MAC, Bistro and Nightlife Awards, Douglas finally soloed at the venerable venue and the audiences who saw her shows probably wondered why it took so long.
Now that the legendary Elaine Stritch and Julie Wilson have retired from performing, the only celebrity 80-plusers who have been performing regularly on the cabaret circuit are the equally legendary Barbara Cook and Marilyn Maye. But now there's another octogenarian on the scene and while he may not be a legend, George Marcy is an 86-year-old former Broadway musical theater actor/dancer who recently staged a totally charming and entertaining show at Don't Tell Mama.
NiCori Studios and Productions in association with Oakeside Bloomfield Cultural Center announces a new installment of the monthly concert series, 'Music at the Mansion', on Sunday, September 29, at 3pm. Performers include Stephen Hanks, Fran Leonardis, and Stearns Matthews. The featured performer in the 'Young Musician Moment' will be Zoe Gelman.
Sutton Foster may be a Tony-Award winning Broadway Musical Theatre darling, but if her opening-night show this past Wednesday at Café Carlyle (which launched her current three-week run until September 28) is the best she can do, she's far from also being considered a nightclub/cabaret diva.
On September 21, Macchia--who works full-time as a florist by day and part-time as a manager at the Metropolitan Room by night--will celebrate his 'Fierce and Fabulous' 40th birthday with the launch of Season Eight of Cabaret Cares. Over the first seven years of the variety series, now staged at the Laurie Beechman Theatre, Macchia has raised more than $80,000 to help children from infants to teenagers suffering from HIV and AIDS. During the first year, funds raised through the Cabaret Cares benefit shows helped 22 children. Now Macchia's Help Is On The Way charity-which is run out of Joseph's home and has no salaried staff--services around 650 kids, supplying everything from school backpacks to weeks at a summer camp.
One of the biggest downers perpetrated by American culture is the characterization of Labor Day weekend as the 'unofficial end of summer.' But given what has passed for cabaret entertainment-at least the shows I was able to attend--since the 'unofficial start of summer' on Memorial Day weekend, the end of summer can't come soon enough. But my dismay over the hours lost watching average shows this season was tempered a bit by the pride and joy I felt watching the June performances of three strikingly attractive and talented 30ish brunettes with powerhouse voices-- Jackie Kristel, Karen Gross and Jodi Beck, who all staged entertaining shows as spring was turning to summer.
As I read the pre-publicity and then the first reviews of the new film, Lovelace, which chronicles the disturbing story of the woman who in 1972 starred in the highest-grossing porn film of all time, it reminded me of a time in college when I really got myself in deep because of Deep Throat.
In mid-August, the news website Bloomberg.com reported that 54 Below, the popular new nightclub that opened last June in the basement of the old Studio 54, needed a major cash infusion in the six-figure range if it was going to survive. Perhaps if they just book Liz and Ann Hampton Callaway on a regular basis-either individually or together-their bottom line will start singing a happy tune. The sisterly songbirds recently sold out a five-show run at the venue with a revival of their crowd-pleasing show 'Sibling Revelry.'
In cabaret, there are variety shows and there are VARIETY shows. Going on close to three years as a reviewer and attending a myriad of these affairs that can range in feel from Ed Sullivan to the Gong Show, I no longer have much patience for the lower case version. But every once in a while there's a multi-performer extravaganza that screams capital letters. It turns out that MAC-Award winning singer Lauren Fox has acquired the knack for staging 'Big V' variety shows because they are all about the themes, the stories, and the music, and not about the performers. And wouldn't you know it? With the egos being upstaged by everyone's joy and passion for the project, everybody wins . . . especially the audience. That was the case last night at 54 Below with the Fox produced 'One Night of Peace & Music: A Tribute to Woodstock.'
Richard 'Bick' Goss, a noted New York City-based theater director and choreographer, former Bob Fosse dancer, and the Founder and Co-Artistic Director (with Frank Evans) of the non-profit musical theater development organization, Musical Mondays Theatre Lab, died this past Saturday, August 3, from complications related to Parkinson's Disease, which Mr. Goss had battled for more than five years. He was 75 years old.
Given the insular and in-clubby world that is the New York cabaret scene (by nature, not by design), it can be a struggle for non-celebrity, out-of-town performers to generate an audience when they mount shows in Manhattan. One singer facing that dilemma is lovely, Boston-based Lynda D'Amour, a terrific talent who is popular in the Beantown area but hasn't built enough of a following in the Apple to pack a room. Her crowd was again sparse on Sunday afternoon July 28 for the opening of her new show, The Hungry Years (she'll be making the commute again on August 11 and 25, both at 4pm at Don't Tell Mama), which is a shame because D'Amour possesses a strong vocal instrument that would rank her among this area's most accomplished female singers if only she was a New Yawker.
With the International Al Jolson Society's 17th Annual Long Island Festival just three weeks away (On August 17, from 9am to 4:30pm, at Oceanside Knights of Columbus, 2985 Kenneth Place, Oceanside, NY 11572.), BroadwayWorld.com Cabaret Review/Columnist and passionate Al Jolson fan Stephen Hanks fantasizes about what it might be like to have a conversation with 'The World's Greatest Entertainer,' 53 years after he died. You ain't read nothin' yet.
Devin Bing's show last Thursday night (the fourth of five dates at the Metropolitan Room over this spring and summer, with the next one on August 15) may have been performed in a cabaret club, but it was more a contemporary jazz/pop concert than it was a 'cabaret show.' The story theme on this occasion was 'Devin Bing,' as the ambitious young crooner strives to establish himself as the second coming of his musical hero Harry Connick, Jr., but with Justin Timberlake, Robin Thicke, and Michael Buble colors in his cooly-delivered vocals of original tunes and covers of jazz and Great American Songbook classics. On stage, Bing conveys a confidence that verges on cockiness, but he sprinkles just enough self-deprecation on his swagger to avoid a flavor of smarminess.
The Major League Baseball All-Star break (the game is on Tuesday night) has always been considered the midpoint of the season and as a lifelong fan I've always enjoyed reading those analyses from writers that assess the best performances of the first half. Since July is also the middle of the calendar year, I thought it might be fun to present a cabaret equivalent of a baseball midseason report. So . . . (drum roll) . . . presenting the Best (and My Favorite) 20 New York Cabaret Shows and Performances of (the first half) of 2013.
About halfway through Jim Brochu's Saturday, June 29 performance at the Metropolitan Room of his new show Character Man, I realized I was witnessing what was probably the best cabaret show I'd seen this year, and perhaps was one of the best in my almost three years of reviewing cabaret. By the time the show ended, I had changed my mind. Not because the show fell apart in the second half, but because what Jim Brochu had created (and is opening tonight at the Broward Stage Door Theatre in Coral Springs, Florida, where it will be performed until August 11) was more than a cabaret show. Character Man is a delightful, extremely well-crafted Off-Broadway theater piece that is destined for a run that might rival his critically-acclaimed one-man Zero Mostel tribute show, Zero Hour, which played throughout the country between 2006-2012 and earned Brochu 2010 Drama Desk and Helen Hayes Awards.
Back on April 1, when he posted his third compilation of delayed cabaret reviews from shows staged during the winter, BroadwayWorld.com's lead New York cabaret reviewer promised Number 4 would come with arrival of summer. Okay, so he missed his self-imposed deadline by a couple of weeks. but here's yet another catch-up column with critiques of a half dozen spring shows performed by Bryan Batt, Dawn Derow, Lynly Forrest, Dennis McNeil, Anastasia Barzee, and Nina Hennessey.
