OPENING
NIGHT AT THE CABARET CONVENTION
Monday, October 21, 2002
Town Hall, New York City
Reviewed by Stu Hamstra
Please note: No "song lists" distributed at the convention, so some
of the song titles in these reports may not be accurate and/or misspelled.
Monday,
October 21st, was a very busy day for me, and by the time I finished
off the CABARET HOTLINE ONLINE newsletter (#021003) and sent it
off to the more-than 2,100 subscribers, it was nearly 4:00 pm. It
took another hour to set up the website version of the newsletter
and backup the important files from my desktop MAC to my laptop
MAC. At 5:15 pm I was on the M-20 bus headed uptown from the Chelsea
office, on Eighth Avenue, through rush hour traffic, arriving at
West 41st Street at 5:40 pm (note to self: if in a hurry, take the
subway). A brisk walk of 2 long blocks and I was at THE TOWN HALL
(123 West 43rd Street, NYC - http://www.the-townhall-nyc.org/).
Folks who
have never been to a NYC Cabaret Convention are probably not aware
of the most important part of the event - the "schmooze" time on
the sidewalk outside the hall before each show. Folks begin to gather
there already at 5:00 (the doors usually open around 5:40 pm), and
it is a time to chat with old friends, be introduced to new friends,
and even try to sell any extra tickets your might have. This was
a "sold out" show, but I saw several folks with fists full of tickets
for sale. One of the reasons for this is that the convention tickets
go on sale months before the event, and many nights are sold out
in a day or so. But then plans change, and folks who thought they
would be going can no longer attend, and must unload their extra
tickets somehow (the Mercer folks do not give refunds).
I was not
able to secure a press ticket for the Monday night opening gala,
but through the kindness of one of the performers that evening who
decided to watch from back stage, Melissa Langton, a ticket was
waiting for me at the box office. Best of all, I discovered that
the seat was in my favorite section of the hall - near the back,
on the right side, closest to the exit to the men's room - there
is only one of each in this massive 1,500 seat auditorium. Of course,
I had followed my usual Cabaret Convention regimen of not drinking
any liquids after 12 noon any show day.
At
6:10 pm the lights in the hall dimmed, and Donald Smith, Executive
Director of THE MABEL MERCER FOUNDATION (160 East 48th Street -
#14U, NYC - 1-212-980-3026 - http://www.mabelmercer.org/)
was introduced by an ominous unseen voice. Having been to every
night of both the Chicago and Philadelphia Conventions in the past
8 months, I could nearly recite this announcement by heart.
After a
few announcements, thank-you's and the usual humorous stories, Mr.
Smith announced the first performer for the convention, Tovah Feldshuh
(with Alex Rybeck at the piano). Ms. Feldshuh thankfully did not
do the act I heard her perform at both the Chicago and Philadelphia
Conventions, and instead presented a parody medley based on GYPSY
tunes - sort of a semi-humerous ode to Mr. Smith, his staff, and
the audience. She left no cheek un-kissed.
Ann
Hampton Callaway was next on the program and she offered a salute
to three of her favorite female singers of the past, Billie Holiday,
Sarah Vaughn, Ella Fitzgerald (actually, she did impressions) plus
a medley of two songs that she had written in response to the events
of September 11, 2001 called "Let Us Be United" and "I Believe in
America." The second song, as suggested by the title, was a rather
patriotic anthem, and was answered with enthusiastic and sustained
applause by the audience.
Mark
Coffin was next to take the stage, along with his musical director
Ross Patterson and a lady with a cello. Mark was uncharacteristically
dressed simply in black (is there a dress code in place?) and opened
his set with "Out of This World" (with a lot of electronic
echo added). His second number was "Lost in the Stars." My question
is, why the cello?
Claiborne
Cary was next on stage, and if there was a dress code, Ms. Cary
apparently was not informed. She was wearing a high-collared cloak-like
outfit that appeared to be borrowed from a bus & truck production
of STARMITES, seemingly made of aluminum feathers or something.
Accompanied by Tedd Firth, Ms. Cary opened with a very funny parody
version of "My Funny Valentine" written by the "multi-talented"
Jack Wrangler. In a complete change of pace, she followed with a
moving rendition of "Something Cool."
A
man who adds sparkle to any program was next - the inimitable Sidney
Myer, accompanied by the equally sparkling David Maiocco at the
piano. Using every one of his multitudinous skills as a musical
comedy performer, Sidney brightened the house with two songs, "Sara
Lee" - a love song to a bakery, and a rousing rendition of "CHARGE!"
- an ode to the joy of plastic. At the end of his set he was called
back by Mr. Smith to receive a special Mabel Mercer certificate
of appreciation.
Mr.
Smith next introduced Broadway's Christine Ebersole, who had just
completed a run at THE CAFE CARLYLE (35 East 76th Street, NYC -
1-212-744-1600 - http://www.thecarlyle.com/cal.cfm).
She was not listed on the evening's program, so this was a pleasant
surprise. Her fist number was "Bill," dedicated to her husband Bill,
followed by a tune from the musical 42nd STREET, in which Ms. Ebersole
was part of the original cast, namely "Lullaby of Broadway," done
in slow tempo, and quite effective.
Perennial
convention favorite Jeff Harnar was next up, with Alex Rybeck at
the piano. Jeff performed two Sammy Cahn songs (subject of his latest
CD), the first being a delightful "All the Way." Jeff followed with
an unusual arrangement of the song "Be My Love," in sort of a doo-wop
style of the 50s. It was a lot of fun - and Jeff's vocals always
seem so perfectly right, whatever style he chooses.
I
was a little confused by Mr. Smith's next announcement. He noted
that Amanda McBroom, originally expected to appear next on the program,
was not able to perform because of a new booking she had. But I
could not find Ms. McBroom's name on the program. In any case, Mr.
Smith reported, Andrea Marcovicci would be the closing performer
of the first act. With Shelly Markham at the piano, Ms. Marcovicci
presented "Weren't We Fools" from atop the piano, followed by a
mad and wildly funny rendition of Cole Porter's "Lets Not Talk About
Love."
During
the 15-minute intermission I scooted over to the McDonald's on Sixth
Avenue, just around
the corner from TOWN HALL for a very quick "dinner." Fortunately
the line was short and the service was quick, and I made it back
to my seat before the lights dimmed for the second act.
Last year,
at convention time, we were all concerned because Julie Wilson had
been recently hospitalized and wasn't able to perform. At that time,
Mr. Smith announced the Julie was well on the road to recovery.
This year, Mr. Smith announced that Ms. Wilson was in the audience,
and that it was her birthday. The spotlight found her in the front
row, and she rose to a thunderous and loving applause.
Meantime,
I found myself in a bit of shock, because I suddenly realized that
this date was also my sister's birthday, and I had forgotten to
send her a card - not even one of those electronic e-mail cards!
This past week I was so busy and so distracted, that in spite of
the fact that I had a large "Post It" note stuck on the frame of
my monitor, I had forgotten after all! I shall use the old "senior
moment" excuse, and hope she forgives. I'm allowed to do that now.
There
are two senior ladies that I really enjoy listening to: Barbara
Carroll and Audrey Morris (actually, I worship them). Both do somewhat
the same type of thing, but one is in Chicago and the other in NYC.
Tonight I had the pleasure of listening to Ms. Carroll, as she played
an intricate and undulating Jobim creation called "Zingaro," followed
by "As Long As I Love." Her appearance on and her departure from
the stage were to the sound of sustained, appreciative applause
- made even more enthusiastically because many in the audience wanted
to show their love and devotion, in the light of her recent rather
unceremonious termination from BEMELMAN'S BAR in the Carlyle Hotel,
where she was at the piano for so many years.
For reasons
unbeknownst to me, Jay Leonhart, the bass player backing Ms. Carroll,
was asked to remain on stage and do one of the songs he is so famous
for - at least in some circles. To call him a songwriter is using
the term too loosely. I will instead say he is a casual poet who
strums a bass while reciting stories that at least he himself finds
very amusing. The "lyrics" change from song to song, but somehow
the tune remains pretty much the same.
Lee
Lessack was next on stage, with Tedd Firth at the piano. He sang
two songs from the show I recently heard him perform at JUDY'S CHELSEA
(169 Eighth Avenue, NYC - 1-212-929-5410 - http://www.judyschelsea.com/),
"Younger Than Springtime" and Ann Hampton Callaway's "Where Does
Love Go?" I consider Lee one of the best male vocalists around -
and he seems to be all over the place successfully plying his trade.
I just got the impression that Mr. Lessack was just slightly off
of his game - it was an enjoyable performance that could have used
just a little more of something - I'm not quite sure what. Perhaps
he was experiencing a form of jet lag.
I
have always said that Natalie Gamsu has the voice that songwriters
want to write songs for - deep, rich, colorful and clear. With the
incomparable Dick Gallagher at the piano, and after a brief discussion
of women's undergarments, she began her set with a slow version
of "Don't Fence Me In." This was followed with a medley that Natalie
explained was the personal feelings she had as a sort of binational.
She combined an African song in native tongue, with the classic
standard "I Happen to Like NY." As usual, she was enchanting.
I
had the pleasure of hearing Chicago's Colleen McHugh when I attended
the Chicago Cabaret Convention in March. She was one of the many
outstanding Chicago area performers who were given a chance to sing
at that event. Now, with the above cited Dick Gallagher at the piano,
Ms. McHugh - although visibly nervous - treated the audience first
to "Right As The Rain," building to a big finish, followed by the
very cleverly-written gem by the songwriting team of Marcy Heisler
and Zina Goldrich called "The Last Song."
Denise
Perrier, currently residing in San Francisco, was next on the program,
and she dazzled the audience with her colorfull, deep vocals as
she sang two lyrically-rich numbers, "Don't Explain" and "You'd
Better Love Me." The amazing Mike Greensill provided the accompaniment.
Melissa
Langton, one of the winners of the 2001 Sydney, Australia Cabaret
Convention, had to drop out of last year's NYC Cabaret Convention
due to illness. But she accepted the offer of an appearance this
year, and delighted all with a set that was worth a year's wait.
Wearing a bright red dress (nearly everyone else except Ms. Cary
was dressed in back), with curly blond tresses flowing, Ms. Langton
bowled the audience over with "Steamroller Blues," followed by a
touching medley of the irony-filled "I'm Not In Love Today" and"The
Money Tree." I want to hear more from this gal - fortunately her
new CD had been released on the day of the show!
To
close the show, Mr. Smith showed his usual impeccable ability to
conjure up just the right balance to the evening with the appearance
of the now platinum blond Wesla Whitfield, the lady known for rich,
smooth vocals and a most amazing knack to mine every gem from a
lyric. Her rendition of "The Nearness of You" was flawless and touching.
Again, the amazing Mr. Greensill provided just the right accompaniment.
Her final number, and the last song of the evening, was one I don't
believe I have heard before. I'm told it is called "An Occasional
Man." Ms. Whitfield promised that the song was packed with double
entendre. Perhaps it was the lateness of the hour, or the 3-hours
seated in the hall, but quite frankly, if there was entendre there,
I did not grasp it.
As Ms.
Whitfield zipped off the stage in her wheelchair, with a smile and
a wave, the house lights came on and the show was over. And, overall,
I must admit, I rather enjoyed the show. Well balanced, presenting
stars and rising stars, old hands and newcomers, a bit of jazz,
a bit of Great American Songbook, and a bit of new stuff, it all
blended together into a great start for this year's NYC extravaganza.
And that
is just about the way it was.
Hugs &
Stuff,
STU
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At
6:10 pm the lights in the hall dimmed, and Donald Smith, Executive
Director of THE MABEL MERCER FOUNDATION (160 East 48th Street -
#14U, NYC - 1-212-980-3026 - 
Ann
Hampton Callaway was next on the program and she offered a salute
to three of her favorite female singers of the past, Billie Holiday,
Sarah Vaughn, Ella Fitzgerald (actually, she did impressions) plus
a medley of two songs that she had written in response to the events
of September 11, 2001 called "Let Us Be United" and "I Believe in
America." The second song, as suggested by the title, was a rather
patriotic anthem, and was answered with enthusiastic and sustained
applause by the audience. 
Mark
Coffin was next to take the stage, along with his musical director
Ross Patterson and a lady with a cello. Mark was uncharacteristically
dressed simply in black (is there a dress code in place?) and opened
his set with "Out of This World" (with a lot of electronic
echo added). His second number was "Lost in the Stars." My question
is, why the cello? 
Claiborne
Cary was next on stage, and if there was a dress code, Ms. Cary
apparently was not informed. She was wearing a high-collared cloak-like
outfit that appeared to be borrowed from a bus & truck production
of STARMITES, seemingly made of aluminum feathers or something.
Accompanied by Tedd Firth, Ms. Cary opened with a very funny parody
version of "My Funny Valentine" written by the "multi-talented"
Jack Wrangler. In a complete change of pace, she followed with a
moving rendition of "Something Cool."
A
man who adds sparkle to any program was next - the inimitable Sidney
Myer, accompanied by the equally sparkling David Maiocco at the
piano. Using every one of his multitudinous skills as a musical
comedy performer, Sidney brightened the house with two songs, "Sara
Lee" - a love song to a bakery, and a rousing rendition of "CHARGE!"
- an ode to the joy of plastic. At the end of his set he was called
back by Mr. Smith to receive a special Mabel Mercer certificate
of appreciation. 
Mr.
Smith next introduced Broadway's Christine Ebersole, who had just
completed a run at THE CAFE CARLYLE (35 East 76th Street, NYC -
1-212-744-1600 - 
Perennial
convention favorite Jeff Harnar was next up, with Alex Rybeck at
the piano. Jeff performed two Sammy Cahn songs (subject of his latest
CD), the first being a delightful "All the Way." Jeff followed with
an unusual arrangement of the song "Be My Love," in sort of a doo-wop
style of the 50s. It was a lot of fun - and Jeff's vocals always
seem so perfectly right, whatever style he chooses. 
I
was a little confused by Mr. Smith's next announcement. He noted
that Amanda McBroom, originally expected to appear next on the program,
was not able to perform because of a new booking she had. But I
could not find Ms. McBroom's name on the program. In any case, Mr.
Smith reported, Andrea Marcovicci would be the closing performer
of the first act. With Shelly Markham at the piano, Ms. Marcovicci
presented "Weren't We Fools" from atop the piano, followed by a
mad and wildly funny rendition of Cole Porter's "Lets Not Talk About
Love." 
There
are two senior ladies that I really enjoy listening to: Barbara
Carroll and Audrey Morris (actually, I worship them). Both do somewhat
the same type of thing, but one is in Chicago and the other in NYC.
Tonight I had the pleasure of listening to Ms. Carroll, as she played
an intricate and undulating Jobim creation called "Zingaro," followed
by "As Long As I Love." Her appearance on and her departure from
the stage were to the sound of sustained, appreciative applause
- made even more enthusiastically because many in the audience wanted
to show their love and devotion, in the light of her recent rather
unceremonious termination from BEMELMAN'S BAR in the Carlyle Hotel,
where she was at the piano for so many years. 
Lee
Lessack was next on stage, with Tedd Firth at the piano. He sang
two songs from the show I recently heard him perform at JUDY'S CHELSEA
(169 Eighth Avenue, NYC - 1-212-929-5410 - 
I
have always said that Natalie Gamsu has the voice that songwriters
want to write songs for - deep, rich, colorful and clear. With the
incomparable Dick Gallagher at the piano, and after a brief discussion
of women's undergarments, she began her set with a slow version
of "Don't Fence Me In." This was followed with a medley that Natalie
explained was the personal feelings she had as a sort of binational.
She combined an African song in native tongue, with the classic
standard "I Happen to Like NY." As usual, she was enchanting. 
I
had the pleasure of hearing Chicago's Colleen McHugh when I attended
the Chicago Cabaret Convention in March. She was one of the many
outstanding Chicago area performers who were given a chance to sing
at that event. Now, with the above cited Dick Gallagher at the piano,
Ms. McHugh - although visibly nervous - treated the audience first
to "Right As The Rain," building to a big finish, followed by the
very cleverly-written gem by the songwriting team of Marcy Heisler
and Zina Goldrich called "The Last Song." 
Melissa
Langton, one of the winners of the 2001 Sydney, Australia Cabaret
Convention, had to drop out of last year's NYC Cabaret Convention
due to illness. But she accepted the offer of an appearance this
year, and delighted all with a set that was worth a year's wait.
Wearing a bright red dress (nearly everyone else except Ms. Cary
was dressed in back), with curly blond tresses flowing, Ms. Langton
bowled the audience over with "Steamroller Blues," followed by a
touching medley of the irony-filled "I'm Not In Love Today" and"The
Money Tree." I want to hear more from this gal - fortunately her
new CD had been released on the day of the show! 
To
close the show, Mr. Smith showed his usual impeccable ability to
conjure up just the right balance to the evening with the appearance
of the now platinum blond Wesla Whitfield, the lady known for rich,
smooth vocals and a most amazing knack to mine every gem from a
lyric. Her rendition of "The Nearness of You" was flawless and touching.
Again, the amazing Mr. Greensill provided just the right accompaniment.
Her final number, and the last song of the evening, was one I don't
believe I have heard before. I'm told it is called "An Occasional
Man." Ms. Whitfield promised that the song was packed with double
entendre. Perhaps it was the lateness of the hour, or the 3-hours
seated in the hall, but quite frankly, if there was entendre there,
I did not grasp it. 
If
you would like to receive a free e-mail subscription to CABARET HOTLINE ONLINE,
please e-mail