THIRD NIGHT
AT THE CABARET CONVENTION
Wednesday, October 23, 2002
Town Hall, New York City
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.
Well, it
was the third night in a row, and by now I pretty much have the
route from Chelsea to MailBoxes, Etc. to THE TOWN HALL (123 West
43rd Street, NYC - http://www.the-townhall-nyc.org/)
pretty much down pat, and so I even had a chance to pop in at DON'T
TELL MAMA (343 West 46th Street, NYC - 1-212-757-0788 - http://www.donttellmamanyc.com/)
and drop off a stack of my brand-new CABARET HOTLINE ONLINE post
cards - hot off the press.
Carrying
a chic JEFFREY mini-shopping bag filled with more post cards, I
headed through Times Square once again, and once more threaded my
way through the many cabaret mavens gathered outside of the hall.
On the way to my seat, I dropped off a few stacks of cards on the
various little shelves in the lobby where folks put their show cards.
A friend volunteered to run upstairs and leave some there on my
behalf.
When I
found my seat, I realized that there would be no quick escape for
me tonight, as I was seated in the center of the center section
of row "H" - virtually at the very center of the orchestra section.
And to my right was David Finkle, of BACK STAGE and THE VILLAGE
VOICE, and next to him, on the aisle, were Barb & Scott Siegel of
http://www.Theatermania.com/.
To my left were about 8 other people, so that route was blocked
as well. But this all soon became moot, since the show, as a whole,
was quite satisfying and entertaining.
I was just
a bit earlier than the past nights, I had a little more time to
get an idea of the size of the audience. I was disappointed to note
that the orchestra section contained several 6 or 8 seats-in-a-row
sections vacant, and in the balcony, someone reported later, there
was room enough to set up a golf driving range. I also found out
that once again, the performance was available for a simple $3.50
service charge to members of "Audience Extras" (http://www.audienceextras.com/).
The lights
dimmed, and it was a comfort to once more hear that ominous back
stage voice pronounce a roll call of the Executive Director of THE
MABEL MERCER FOUNDATION (160 East 48th Street - #14U, NYC - 1-212-980-3026
- http://www.mabelmercer.org/),
Mr. Donald Smith's, achievements. I was worried on Tuesday night
about the absence of that back stage announcer, but then realized
that since Andrea Marcovicci was the host of the show that night,
she had probably given him the night off.
Mr. Smith
strode to the lectern to make a few announcements and introduce
the first act. He again reminded everyone that, while the Thursday,
October 24th show of the series was sold out, there were tickets
available for the Friday and Saturday night shows (the Sunday afternoon
closing show is normally sold out almost immediately, since about
half the seats are given to TOWN HALL for its members.) Members
of Audience Extras, take note.
In
my report of the Monday night event, I speculated that there might
be a dress code in effect at the Convention, due to the rather conservative
suit worn my vocalist Mark Coffin, who in prior years wore far more
colorful costumes. But, when David Gurland and his cohorts strode
on stage, I knew of a certainty that I was mistaken. Joining David
on stage were Karen Mack, Michael Holland, Ted Stafford and Jerry
Smith, in various styles of dress, from street wear to punk - and
these five singers sang "Whenever I Call You Mine" a Capella style,
with David doing the lead vocals. Close your eyes and you were in
heaven. The vocal harmonies were glorious. For the second number,
everyone left the stage except Mr. Gurland and Mr. Holland (who
took to the piano bench with his acoustic guitar), who accompanied
David while he sang "No One Knows But You," by Beth Nielsen Chapman
and one of the songs that David will be doing in his show at DON'T
TELL MAMA (343 West 46th Street, NYC - 1-212-757-0788 - http://www.donttellmamanyc.com/)
on Mondays, November 4th, 11th and 18th at 8:30 pm.
On
Tuesday night I had the pleasure of seeing both Melissa Langton
and MaryAnne McCormack, Sydney Australia Cabaret Convention winners,
perform in their show at DON'T TELL MAMA (343 West 46th Street,
NYC - 1-212-757-0788 - http://www.donttellmamanyc.com/)
after the Convention show. Thus I was fully prepared for the fantastic
vocals of Ms. McCormack when she took the stage as the second performer
of the evening. She started with Brian Lasser's "Tear Up the Town
Tonight," and followed with a song that she wrote herself called
"My Last Goodbye," which was also included in her cabaret show.
It was indeed a pleasure to hear them performed a second time. Thank
you, Australia, for sending us such delicious samples of your talent
pool!
Next on
the program was a young lady by the name of Anika Noni Rose. She
offered two numbers: "Can't Help Loving That Man of Mine" and "Handyman."
Both of them were presented "as written" or in other words, in the
same style as your might hear on an "open mic" night at a local
piano bar. The vocals were lovely, the young lady was lovely, the
sarong she wore was lovely - but the performance seemed lifeless
and she did not seem to make any type of effort to communicate anything
except hitting the right notes. (Which is important, I agree, remembering
my report of the Tuesday show.)
Eric
Comstock is a total professional, and as at ease behind a piano
as a person can possibly be. His job, of course, was to try to reawaken
the enthusiasm in the room, and he did his very best on two numbers,
"Old Devil Moon" and the less familiar "Hazel's Hip," one of those
clever songs that keeps you chuckling and then hits you with a fast
curve at the very end.
I
saw Lindsey Hamilton, who hails from England, a few years back when,
through some mix-up in communication, she came to town only to discover
that her cabaret booking at the once thriving FireBird Cafe was
not a reality. Sidney Myer quickly made room for her on the DON'T
TELL MAMA (343 West 46th Street, NYC - 1-212-757-0788 - http://www.donttellmamanyc.com/)
schedule, and she was able to fulfill her performance dates just
a few doors down from her original booking. I tried to get the word
out at that time on CABARET HOTLINE ONLINE on her behalf, and even
attended her show to give my support, so I already knew what everyone
in THE TOWN HALL soon discovered: the lady is a super talent, and
one of those few performers who can find a way to turn any event
into an opportunity to entertain.
Lindsey
was fifth on the program, and the convention was pretty well under
way, but she politely paused as a latecomer came down the aisle
during her opening patter. Then, as the gentleman took his seat
in the second row, she asked, politely if he had finally found a
place to park his car. Gentle laughter. As soon as she began to
speak again, another few stragglers wandered in, so she paused again
and waited for them to find their seats in the fourth row. Then
she politely greeted them, thanked them for coming, and then told
them that she was sorry that they had just missed Liza Minnelli's
surprise performance. Explosive laughter. With the audience now
in the palm of her hand, she treated all to two numbers: "All That
I Need Is A Piano" and "Time Heals Everything." A brilliant performance
by a sparkling talent!
I
has been quite a while since Bobby Belfry's last appearance at a
NYC Cabaret Convention, but he seemed so at home on the stage, one
would think that he had been performing there all week. With David
Budway at the piano, Bobby sang a simple but touching arrangement
of "Skylark." The effect of this lad, standing alone in the spotlight,
on this huge stage, singing so beautifully, so sincerely, was nearly
hypnotic. If applause could be turned into bouquets, the stage would
have been flooded with flowers at the end of his number. For his
second presentation, Bobby chose a song that he had written along
with his musical director, Mr. Budway. Called "The Man On the Other
Side of the Bar," it was a singing-bartender's answer to the Billy
Joel "Piano Man" composition. Taking center stage, shedding his
jacket, loosening his tie, Mr. Belfry took his audience (they belonged
to him at this point) on a visit to a smoky piano bar, and he conjured
up images of the folks who wandered in for a drink, a chat, and
that occasional chance meeting of a new friend or lover.
Talk
about deja vu, when I was at the Philadelphia Cabaret Convention,
BJ Crosby performed a set of two numbers that had the audience on
their feet, demanding more. The precise same event took place next,
as this super-lady of song took the stage, with Dick Gallagher at
the piano, and opened her set with "Just One of Those Things," shaking
the dust from the rafters with her big, belting vocals. Dressed
in the most colorful outfit of the Convention (no one will be able
to top this one, even with four more shows to come) and a black
Dr. Seuss-style hat that seemed to make her 10 feet tall, Ms. Crosby
then walked to the front of the stage, and announced that the next
song was a tribute to all the friends she had in the entertainment
field who had passed away on the past 25 years. The song was a special
arrangement of "All By Myself," combined with "Who Can I Turn To."
There is no possible way that I can describe to you the feelings
and emotions that this arrangement produced. I could feel a chill
and a tingle from head to foot - the same feelings I experienced
in Philadelphia in March. And I know that I was not alone in this
experience, because at the end of the number, after a few seconds
of stunned silence, the majority of the audience rose to its feet,
applauding and cheering.
It took
me more than a few seconds to collect myself before heading for
the lobby for the intermission. Of course I took along a supply
of my CABARET HOTLINE ONLINE post cards, to replenish any in the
lobby that might have been taken. On checking the shelves, I was
pleasantly surprised to find them all completely gone! So I busily
restocked the displays, and after a brief chat with a few friends
on the sidewalk outside, returned to my seat.
On re-entering
the hall, I noted that the stage was being rearranged to accommodate
what appeared to be a three-piece band. Several musicians were wandering
around the stage, checking the plugs on their amps and all the other
things that musicians do to appear busy. It looked like we were
in store for a big production number - perhaps Liza would be making
an appearance after all!
Stacy
Sullivan is not quite as big a name as Liza Minnelli, but to tell
the truth, I'll take Stacy's vocals over Liza's any day. I will
also add, in the looks department, Ms. Sullivan also wins hands
down! But those vocals - that's what I enjoy most. Stacy was backed
by three musicians, two on electric guitars and one drummer. Her
two songs were Amanda McBroom's "Dreaming" and the Mercer-Carmichael
classic, "How Little We Know." But I was just a little confused
by the choice of instrumentation for these two numbers. The vocals
were impeccable, and I am sure that, as electric guitars and drums
go, so was the work of the musical accompanists. But it seemed to
me such a miss-match to the music chosen. This combination might
be perfect for a Bruce Springsteen song, or even a song from RENT
or FOOTLOOSE. But McBroom? Mercer? Carmichael? As Christine Lavin
would say, "What was she thinking?"
While the
stage was being rearranged once more after the set, Mr. Smith came
to the lectern to present another Mabel Mercer Certificate of Appreciation,
this time to Forrest Perrin, who has provided the piano overture
to the Convention Opening Night shows for many years. This did not
take up quite enough time, so Mr. Smith "vamped" vocally with some
comments and anecdotes, until the stagehands had completed their
tasks.
He next
introduced a lady by the name of Ruth Alan, who apparently has been
a singer/songwriter for four decades, and has performed on two continents.
She offered two numbers, while providing her own accompaniment at
the piano. The first was a song she had written to answer Cole Porter's
musical question "What Is This Thing Called Love?" She followed
with the song "Who Needs Spring?" The set was so simple, so tepid,
I really can't think of anything to write about the performance
except to say that some questions might be better left unanswered.
Sorry.
The
little lady next taking center stage was the ever-sparkling Lumiri
Tubo, with Rob LaRocco at the piano. She immediately warmed up a
rather chilly audience (for some reason the hall seemed very cold
Wednesday night) with "Heat Wave," and instantly we were in the
tropics. Showing that she can do the ballad as well as the bounce,
she followed with a touching rendition of "If I Could." I saw this
little lady make her cabaret debut at the old EIGHTY EIGHT'S several
years ago, and while she maintains the same youthful energy and
charm she did then, she has now added to her collection of talents
an aura of self confidence and total professionalism. Brava!
Johnny
Rodgers arrived in NYC about 18 months ago from Chicago, and captured
the hearts of many with his boyish good looks, his cheerful attitude
and his youthful, optimistic spirit. But these only serve to mask
his super talent as singer, instrumentalist and songwriter. He started
his set with a new original song, "Midday Moon," that is destined
to be on many cabaret show song lists in a very short time, I am
sure. He followed with a song I also heard him perform at the Chicago
Cabaret Convention called "Mendocino." Mr. Rodgers' use imagery
is unbelievably intricate and full. He is a true artist/poet, able
to paint a glorious picture with just a few words.
Baby
Jane Dexter's way with an audience defies description. It isn't
just her glorious, full-bodied vocals, and it isn't just her special
take on every song she sings. It is also the way she simply walks
to the microphone, and instantly reads all our minds, adjusts her
style to meet our needs, and makes every song presentation special
to that very moment, that very place, that very audience. And, when
you combine her talent with the amazing Ross Patterson at the piano,
you have total bliss, as if you had been given a dose of some exotic
drug. If you observe these two in performance, you get the impression
that they are in different places, traveling different pathways
- but they seem to have a means of communication that is on another
level or dimension - and their seemingly different pathways weave
and blend into a fabric of incomparable beauty. I have heard Ms.
Dexter sing the songs she chose for her set often, but as usual,
they took on a character that made them brand new, all over again.
Baby Jane opened with "Spinning Wheel," and after one of those Baby
Jane stream-of-conciousness bits of patter that she is so famous
for, she followed with a pair of songs, "All The Way" and "Until
the Real Thing Comes Along." She made it all look so easy!
When
you are assigned to follow a set by Baby Jane Dexter, just about
all you can do is get out there and sing your heart out. This is
exactly what the next performer, Lynn Loosier, chose to do. With
Tedd Firth at the piano, she began the set with a fast-paced combination
of "Let's Face the Music and Dance" and "Do You Want To Dance,"
followed by Lionel Hampton's "Don't Mess Around With Me." Unfortunately,
on the last song, the tempo and the volume got just a bit out of
hand, and it was difficult at times to make out all the lyrics.
But Lynn is a fantastic belter, and handles all the big numbers
like a pro.
Dina
Joy Byrd is a Chicago lass who is making the move to NYC early next
year, and one could feel the excitement of anticipation throughout
her whole set. Even though she was the last performer of the evening,
she did not for an instant let the room cool down. With Jay Leonhart
providing accompaniment on bass, Dina sang a rousing "There's Gonna'
Be A Great Day." Then, with Chicago maestro Dan Stetzel at the piano,
she gave a bit of advice to all the ladies in the house via a song
called "A Million Dollar Secret." Good advice to be sure, and well
done by Ms. Byrd. As they say in Florida, "Come on down!"
And thus
ended night three of the 13th Annual NYC Cabaret Convention. After
the show, several of us speculated on the reasons for the poor attendance
at both the Tuesday & Wednesday performances. And there was some
question as to why Audience Extras was used to paper the house,
rather than distributing a few dozen free tickets to the cabaret
performers and piano bar performers, and even students in some of
the area's music colleges and performance high schools. This might
be a much better way to build a future audience for the Conventions,
and consequently for cabaret. But has the Cabaret Convention become
to expensive for many folks? The shows have always appealed to seniors
as a bargain production - 18 performers for $10 was a big selling
point 12 or 13 years ago. The high prices might also account for
an apparent lack of interest by many cabaret performers in attending
the shows - except for the lucky ones who are invited to perform.
Another
factor might be that The Cabaret Convention is no longer the only
show in town, with Scott Siegel putting on a bunch of shows this
year, and even more next year, featuring performers from Cabaret
and Broadway (and actually paying the performers!). Stories on these
events can be found on the CABARET HOTLINE ONLINE website (http://www.cabarethotlineonline.com/).
In addition, Scott and Barbara Siegel have just announced their
own version of the MAC & BISTRO awards, called THE FIRST ANNUAL
NIGHTLIFE AWARDS, celebrating the best in New York's Cabaret, Jazz,
and Comedy. That show will take place on Monday, January 27th, 2003
at 8:00 pm in this very venue, THE TOWN HALL (123 West 43rd Street,
NYC - http://www.the-townhall-nyc.org/)
Among the hosts will be Andrea Marcovicci. Tickets are available
for $75, $50, and $25. Post Show Party tickets are $50. In fact,
as a result of a special arrangement with the hall, tickets are
available right now at THE TOWN HALL box office through Sunday,
October 27th. Tickets are also available at TicketMaster: 1-212-307-4100
or through http://www.Theatermania.com/.
Tickets won't be available at THE TOWN HALL box office again until
January 2, 2003.
It will
be interesting to see what adjustments, if any, Mr. Smith might
make to the format and content of future Cabaret Conventions. In
the meantime, we are almost at the halfway point for the 2002 event.
I am taking
Thursday night off - someone else will be covering and reporting
on the convention for me - as well as on Sunday, the 27th when I
will be in New Hope attending the 15th Anniversary of THE CABARET
at Odette's (South River Road, New Hope, PA - 215-862-3000 - http://www.odettes.com/),
scheduled to start at 7:00 pm. All reports will be e-mailed as soon
as completed to all members of CABARET HOTLINE ONLINE and then posted
on the CABARET HOTLINE ONLINE website (http://www.cabarethotlineonline.com/)
with photos and corrections included. Stay tuned.
Event
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In
my report of the Monday night event, I speculated that there might
be a dress code in effect at the Convention, due to the rather conservative
suit worn my vocalist Mark Coffin, who in prior years wore far more
colorful costumes. But, when David Gurland and his cohorts strode
on stage, I knew of a certainty that I was mistaken. Joining David
on stage were Karen Mack, Michael Holland, Ted Stafford and Jerry
Smith, in various styles of dress, from street wear to punk - and
these five singers sang "Whenever I Call You Mine" a Capella style,
with David doing the lead vocals. Close your eyes and you were in
heaven. The vocal harmonies were glorious. For the second number,
everyone left the stage except Mr. Gurland and Mr. Holland (who
took to the piano bench with his acoustic guitar), who accompanied
David while he sang "No One Knows But You," by Beth Nielsen Chapman
and one of the songs that David will be doing in his show at DON'T
TELL MAMA (343 West 46th Street, NYC - 1-212-757-0788 - 
On
Tuesday night I had the pleasure of seeing both Melissa Langton
and MaryAnne McCormack, Sydney Australia Cabaret Convention winners,
perform in their show at DON'T TELL MAMA (343 West 46th Street,
NYC - 1-212-757-0788 - 
Eric
Comstock is a total professional, and as at ease behind a piano
as a person can possibly be. His job, of course, was to try to reawaken
the enthusiasm in the room, and he did his very best on two numbers,
"Old Devil Moon" and the less familiar "Hazel's Hip," one of those
clever songs that keeps you chuckling and then hits you with a fast
curve at the very end. 
I
saw Lindsey Hamilton, who hails from England, a few years back when,
through some mix-up in communication, she came to town only to discover
that her cabaret booking at the once thriving FireBird Cafe was
not a reality. Sidney Myer quickly made room for her on the DON'T
TELL MAMA (343 West 46th Street, NYC - 1-212-757-0788 - 
I
has been quite a while since Bobby Belfry's last appearance at a
NYC Cabaret Convention, but he seemed so at home on the stage, one
would think that he had been performing there all week. With David
Budway at the piano, Bobby sang a simple but touching arrangement
of "Skylark." The effect of this lad, standing alone in the spotlight,
on this huge stage, singing so beautifully, so sincerely, was nearly
hypnotic. If applause could be turned into bouquets, the stage would
have been flooded with flowers at the end of his number. For his
second presentation, Bobby chose a song that he had written along
with his musical director, Mr. Budway. Called "The Man On the Other
Side of the Bar," it was a singing-bartender's answer to the Billy
Joel "Piano Man" composition. Taking center stage, shedding his
jacket, loosening his tie, Mr. Belfry took his audience (they belonged
to him at this point) on a visit to a smoky piano bar, and he conjured
up images of the folks who wandered in for a drink, a chat, and
that occasional chance meeting of a new friend or lover. 
Talk
about deja vu, when I was at the Philadelphia Cabaret Convention,
BJ Crosby performed a set of two numbers that had the audience on
their feet, demanding more. The precise same event took place next,
as this super-lady of song took the stage, with Dick Gallagher at
the piano, and opened her set with "Just One of Those Things," shaking
the dust from the rafters with her big, belting vocals. Dressed
in the most colorful outfit of the Convention (no one will be able
to top this one, even with four more shows to come) and a black
Dr. Seuss-style hat that seemed to make her 10 feet tall, Ms. Crosby
then walked to the front of the stage, and announced that the next
song was a tribute to all the friends she had in the entertainment
field who had passed away on the past 25 years. The song was a special
arrangement of "All By Myself," combined with "Who Can I Turn To."
There is no possible way that I can describe to you the feelings
and emotions that this arrangement produced. I could feel a chill
and a tingle from head to foot - the same feelings I experienced
in Philadelphia in March. And I know that I was not alone in this
experience, because at the end of the number, after a few seconds
of stunned silence, the majority of the audience rose to its feet,
applauding and cheering. 
Stacy
Sullivan is not quite as big a name as Liza Minnelli, but to tell
the truth, I'll take Stacy's vocals over Liza's any day. I will
also add, in the looks department, Ms. Sullivan also wins hands
down! But those vocals - that's what I enjoy most. Stacy was backed
by three musicians, two on electric guitars and one drummer. Her
two songs were Amanda McBroom's "Dreaming" and the Mercer-Carmichael
classic, "How Little We Know." But I was just a little confused
by the choice of instrumentation for these two numbers. The vocals
were impeccable, and I am sure that, as electric guitars and drums
go, so was the work of the musical accompanists. But it seemed to
me such a miss-match to the music chosen. This combination might
be perfect for a Bruce Springsteen song, or even a song from RENT
or FOOTLOOSE. But McBroom? Mercer? Carmichael? As Christine Lavin
would say, "What was she thinking?" 
The
little lady next taking center stage was the ever-sparkling Lumiri
Tubo, with Rob LaRocco at the piano. She immediately warmed up a
rather chilly audience (for some reason the hall seemed very cold
Wednesday night) with "Heat Wave," and instantly we were in the
tropics. Showing that she can do the ballad as well as the bounce,
she followed with a touching rendition of "If I Could." I saw this
little lady make her cabaret debut at the old EIGHTY EIGHT'S several
years ago, and while she maintains the same youthful energy and
charm she did then, she has now added to her collection of talents
an aura of self confidence and total professionalism. Brava! 
Johnny
Rodgers arrived in NYC about 18 months ago from Chicago, and captured
the hearts of many with his boyish good looks, his cheerful attitude
and his youthful, optimistic spirit. But these only serve to mask
his super talent as singer, instrumentalist and songwriter. He started
his set with a new original song, "Midday Moon," that is destined
to be on many cabaret show song lists in a very short time, I am
sure. He followed with a song I also heard him perform at the Chicago
Cabaret Convention called "Mendocino." Mr. Rodgers' use imagery
is unbelievably intricate and full. He is a true artist/poet, able
to paint a glorious picture with just a few words. 
Baby
Jane Dexter's way with an audience defies description. It isn't
just her glorious, full-bodied vocals, and it isn't just her special
take on every song she sings. It is also the way she simply walks
to the microphone, and instantly reads all our minds, adjusts her
style to meet our needs, and makes every song presentation special
to that very moment, that very place, that very audience. And, when
you combine her talent with the amazing Ross Patterson at the piano,
you have total bliss, as if you had been given a dose of some exotic
drug. If you observe these two in performance, you get the impression
that they are in different places, traveling different pathways
- but they seem to have a means of communication that is on another
level or dimension - and their seemingly different pathways weave
and blend into a fabric of incomparable beauty. I have heard Ms.
Dexter sing the songs she chose for her set often, but as usual,
they took on a character that made them brand new, all over again.
Baby Jane opened with "Spinning Wheel," and after one of those Baby
Jane stream-of-conciousness bits of patter that she is so famous
for, she followed with a pair of songs, "All The Way" and "Until
the Real Thing Comes Along." She made it all look so easy! 
When
you are assigned to follow a set by Baby Jane Dexter, just about
all you can do is get out there and sing your heart out. This is
exactly what the next performer, Lynn Loosier, chose to do. With
Tedd Firth at the piano, she began the set with a fast-paced combination
of "Let's Face the Music and Dance" and "Do You Want To Dance,"
followed by Lionel Hampton's "Don't Mess Around With Me." Unfortunately,
on the last song, the tempo and the volume got just a bit out of
hand, and it was difficult at times to make out all the lyrics.
But Lynn is a fantastic belter, and handles all the big numbers
like a pro. 
Dina
Joy Byrd is a Chicago lass who is making the move to NYC early next
year, and one could feel the excitement of anticipation throughout
her whole set. Even though she was the last performer of the evening,
she did not for an instant let the room cool down. With Jay Leonhart
providing accompaniment on bass, Dina sang a rousing "There's Gonna'
Be A Great Day." Then, with Chicago maestro Dan Stetzel at the piano,
she gave a bit of advice to all the ladies in the house via a song
called "A Million Dollar Secret." Good advice to be sure, and well
done by Ms. Byrd. As they say in Florida, "Come on down!" 
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you would like to receive a free e-mail subscription to CABARET HOTLINE ONLINE,
please e-mail