2002 Cabaret Convention - Thursday Night
FOURTH
NIGHT AT THE CABARET CONVENTION
Thursday, October 24, 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.
As
you know, the MABEL MERCER FOUNDATION was not able to provide me
with press tickets to the fourth night of the 2002 NYC Cabaret Convention,
so the following is a recap of the events at Thursday night's show,
written by Alan Kull, who also covered one of the nights of last
year's convention for CABARET HOTLINE ONLINE. Mr. Kull tells us
that the following is intended as a report, not a full fledged review,
although he has added a few personal observations from time to time
for good measure.
Thursday
night saw me climb to the balcony for an aisle seat on the left.
A far cry from my seat in the orchestra on Wednesday night. My seat
assignments this year have feeling like a yo-yo, up and down between
first and second levels. Thursday night marked the opening night
of a special three-night tribute to the music of Richard Rodgers,
celebrating the centennial of his birth.
As per
the usual custom, Thursday night's performance started about 10
minutes late. But not per the custom, the show opened with neither
the backstage announcer reading Donald Smith's credits, nor Donald
himself walking on stage, but rather the evening opened directly
with song. Fourteen cabaret performers gathered around mics on stage
and opened with an rousing rendition of "Its a Grand Night For Singing"
from the Rodgers & Hammerstein movie musical STATE FAIR, as arranged
and accompanied by Dick Gallagher. While I didn't make a list of
all the performers, many of them were from the unfolding evening's
schedule, bolstered by regulars such as KT Sullivan, Mark Nadler,
Scott Coulter and Heather MacRae. Over the years, I've always enjoyed
the group numbers and was hoping for more during the evening but
alas it was not to be. Overall though, with a few exceptions, it
was indeed a grand night for singing.
Donald
Smith then appeared to offer his opening remarks. I have noticed
that he has yet to announce the dates for next year's convention,
as he usually does through the week each year. Donald ended by introducing
the hostess for the evening, Mary Rodgers, daughter of the composer,
a composer and author in her own right. Mary read a few lines from
the original play upon which OKLAHOMA was based and introduced theater
and soap performer Brent Barrett. Accompanied by Chris Denny, Brett
opened with OKLAHOMA's "Oh What a Beautiful Morning" and followed
that with "Some Enchanted Evening" from SOUTH PACIFIC. Both selections
were terrifically performed and well received by the sold-out crowd.
Brent was
followed by a lovely Lisa Vroman, currently appearing in PHANTOM
OF THE OPERA in the role of Christine. Showing off her high soprano
voice, she delivered a delightful rendition of "I Have Dreamed"
from THE KING AND I. She then offered "The Lonely Goatherd" from
THE SOUND OF MUSIC. Turning this into a participation number, she
got accompanist Dick Gallagher to offer a few yodels and then invited
the crowd to sing along on the chorus. It was well done and by the
end of her set she owned the audience. It probably also set a record
for the number of people participating in group yodeling - certainly
in New York City anyway.
Mary
Rodgers then returned to the stage to introduce the next performer,
Jim Caruso. The witty and charismatic Caruso always seems at ease
with the audience and always seems in turn to put the audience at
ease. Topped off with his vocal ability, he always is quickly in
control of the action. He opened with the little performed Rodgers
& Hart song "I'll Tell the Man in the Street" from the 1942 movie
"I Married an Angel." Jim was accompanied by Johnny Rodgers, who
joined also vocally joined him in the next number "I LIke to Recognize
the Tune" (from "Too Many Girls"). I it was well done and the two
worked very well with each other.
Donald
Smith then returned to the podium to buy some time while the stage
was being set up for the next performer. He reminded us that a host
of performers will be available in the lobby of THE TOWN HALL (123
West 43rd Street, NYC - http://www.the-townhall-nyc.org/)
on Saturday from 1:00 until 5:00 pm to sign their CDs for anyone
who is interested, and in case you haven't heard by now, CDs are
available for sale in the lobby.
He
then introduced Paula West as the next performer. A trio of bass,
drums, and piano accompanied Paula. The jazz vocalist opened with
"Love Me Tonight" the Rodgers & Hart song from the 1932 movie of
the same name. Remarking that her next number was from a role she'd
never get to play, Paula then offered "Something Wonderful" from
THE KING AND I. While the audience was appreciative of her performance,
I thought that she had an off night. Perhaps she was not feeling
well, but I thought that she sounded hoarse and flat. I've heard
Paula sing numerous times before, but I've never had the reaction
that I had last night. It just didn't seem right.
Next the
evening hit a slow spot. Martin Charnin, the noted lyricist of such
shows as the long running ANNIE was introduced. Charnin also worked
with Rodgers and was the lyricist for two shows: TWO BY TWO in 1970
and I REMEMBER MAMA in 1978, neither of which are especially remembered
today. Charnin spoke briefly, then offered two numbers from TWO
BY TWO, one sung by Noah and one sung by Esther. While sometimes
its nice to hear a lyricists take on his own music (a few Johnny
Mercer cuts come to mind) in this case it wasn't. Furthermore, his
anecdotes talked about his mistake in not casting Barbra Streisand
in a show rather than offering up any insights into the man (Rodgers)
who was being honored last night. All in all, I felt this appearance
didn't offer anything to the evening and drained some energy from
the flow.
Fortunately
the next act was the delightful Julie Reyburn who proceeded to instill
some energy back into the evening. Accompanied by bass and by musical
director Mark Janis on piano, Julie opened with "Do I hear a Waltz"
from the show of the same title, with lyrics by Stephen Sondheim.
The Sondheim nuts among us know that he does not have fond memories
of working with Rodgers and for years did not wish to revisit the
experience. A couple of years ago the George St. Playhouse in New
Brunswick, NJ did what I thought was a terrific production of the
show and its been reported that Sondheim was favorably impressed.
Perhaps it will be revisited again. But I digress. Julie's second
number was "What's the use of Wondering" from CAROUSEL. There's
no wondering about this gal, she continues to impress me more each
time I see her.
The first
act was brought to a close by the appearance of Constance Towers.
The accomplished actress and singer was the leading lady in the
1977 revival of THE KING AND I. With Larry Woodard on the piano,
she opened with the Rodgers & Hart classic "Spring is Here" from
the 1938 musical I MARRIED AN ANGEL. She followed that with another
classic "Bewitched, Bothered, and Bewildered." Miss Towers was elegant,
classy, and delivered a fine performance immensely enjoyed by the
audience.
Donald
Smith opened the second act by announcing, to the disappointment
of many in the crowd, that John Raitt would not be appearing in
the show that evening, as his doctor would not allow him to fly.
Mr. Raitt did ask Donald if he could appear at next year's convention.
Donald
then introduced the first act of the 2nd half of the evening, Klea
Blackhurst. Klea opened with "Whistle a Happy Tune" from THE KING
AND I, and sure enough she showed the crowd that she could indeed
whistle. Now I like Klea, but between numbers guess who she talked
about - Ethel Merman, remarking that Ethel never was in a Rodgers
show. It would seem to me that a show about Rodgers would be a good
opportunity for Klea to distance herself from Ethel for a moment,
so she doesn't risk being always identified as "that girl who does
Ethel Merman." She then sang "Johnny One-Note" from the Rodgers
& Hart BABES IN ARMS, but prefaced it by saying that if Ethel had
done a Rodgers show, this would have been a good Ethel number.
Mary Rodgers
then introduced lyricist Sheldon Harnick, who wrote the lyrics for
the 1976 Rodgers show Rex. Mr. Harnick's moments were everything
Martin Charnin's should have been. Electing not to sing, Harnick
stood behind the podium and spoke for a few moments on his experiences
working with Rodgers and what he thought of him as a person. He
was brief, insightful, informative, kept to the subject and kept
the evening moving.
Mary
then introduced a singer who she said she was not familiar with,
but who she knew was a favorite of the audience - Tom Andersen.
Tom opened by commenting that he was nervous performing in front
of the lyricist to his first number, Sheldon Harnick. His nervousness
certainly didn't show as he delivered a smashing rendition of "Away
From You" from REX. Accompanied by musical director Ian Herman,
he followed with "Ten Minutes Ago" from the TV "Cinderella" by Rodgers
& Hammerstein. Tom is as good as it gets for male vocalists in the
cabaret scene today.
Appearing
next, and not listed in the program was Bill Hayes. Bill appeared
in the original production of the 1953 Rodgers & Hammerstein musical
ME AND JULIET. With the ubiquitous Dick Gallagher on piano, he sang
"No Other Love," which he had originally introduced in 1953. Still
in good voice, he was a crowd pleaser. The music for that number
was originally part of the Rodgers score for the post WWII TV documentary
"Victory at Sea." Hayes only performed one number, although the
audience would have welcomed a second.
Mary Rodgers
then returned to the stage to introduce the singularly named Magda.
This young singer hails from Israel and had spent time in America
living with the Mary Rodgers family while studying music. Accompanied
by Paul Trueblood, she performed "The Sweetest Sounds" with music
and lyrics by Richard Rodgers from his 1962 show NO STRINGS in a
breathy voice. Continuing the trend started by Bill Hayes, she only
performed one number. I was not disappointed.
Before
detailing the next three appearances, perhaps a bit of editorializing
would be appropriate. Although titled "Cabaret Convention," we all
know that the event staged by THE MABEL MERCER FOUNDATION (160 East
48th Street - #14U, NYC - 1-212-980-3026 - http://www.mabelmercer.org/)
each year is not a true "cabaret" convention. Often the performers
and material presented might be better classified under the heading
"A Tribute to American Popular Song, Singers, and Broadway." Indeed,
look at the performers already detailed in this report. How many
are really cabaret performers??
This is
in no way intended as a criticism of the Foundation, for we are
very appreciative of their efforts. Its intended more as background
exposition for the next three acts. Those looking for "cabaret"
would not necessarily find these appearances to their liking. Those
attending to pay tribute to former stars will be very appreciative.
Most of the audience last night fell into the latter category. Warning:
I do not. Someone sitting behind me must have also not fit into
that category for during the next events I heard him remark "Who
are they going to drag out next?"
Escorted
to the center of the stage amid much applause , Celeste Holm was
the next guest. Miss Holm was in the original 1943 production of
OKLAHOMA and accompanied by Dick Gallagher, she then offered a hoarse
rendition of "I'm Just a Girl Who Can't Say No" from the same show
while occasionally having trouble with the lyrics. After seemingly
closing the number and receiving a rousing ovation, she then reprised
the chorus and received another ovation from the loving crowd. Celeste
was then joined on stage by primarily operatic singer Frank Basile,
who serenaded her with a good rendition of "Surrey With a Fringe
on Top." They then duetted on "Getting to Know You," inviting the
audience to join in.
Before
the next appearance, Donald Smith came out to present another Mabel
Mercer Certificate of Appreciation, this time to a well deserving
Dick Gallagher - hey, he deserves it for last nights work alone.
Next out
was the one of the stars of Cole Porter's original KISS ME KATE
as well as Rodgers' THE KING AND I, Patricia Morrison. Still in
a reasonably good voice, she rendered "Hello Young Lovers" to a
warm reception from the crowd, then retired after only one number.
Following
Ms. Morrison was Margaret Whiting, accompanied by Tex Arnold. Singing
only one number, Ms. Whiting did "It Might As Well Be Spring" from
the 1945 move "State Fair: with lyrics by Hammerstein.
Its great
that these folks can still perform and are willing to appear and
take an interest, but ..... enough said.
The evening
ended on a strong note with an electrifying performance by Chicago
based Jeanne Scherkenbach. Appearing with Jay Leonhart on bass and
Dan Stetzel on piano Ms. Scherkenbach opened with "June is Bustin'
Out All Over." With a vibrant strong voice she energetically used
the whole stage to capture the audience with her performance. She
followed that up with an equally scintillating performance of "Climb
Every Mountain" from THE SOUND OF MUSIC. Normally this is an overdone
number that I can live without, but Jeanne managed to breathe new
life into it with a fresh performance. A great way to end a grand
night for singing.
alan kull
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