I was delayed at the office and so arrived just a few minutes late at TOWN HALL. I missed any opening remarks, and was held back just inside the door until the first performer had finished his set. On opening night I had a seat in the orchestra section, the very last row in the house, right on the center aisle. I could slip in and out without disturbing anyone. On Tuesday night I was seated in the orchestra section, in the very second row, just two seats in from the aisle. For tonight's show I was seated in the balcony, center section, front row, but center seat in the row. To get to my seat I had to walk in front of half the balcony and then climb over the laps of 6 folks. What a night to be late!

Gary Lyons had was just about finished with his first song when I arrived. I was unable to take more than mental note of the fact that it was a song about New York (perhaps left over from the Tuesday night show). For his second number Gary sang "Tuesday's Child," a song he had recently written and had sung publicly only once before at the Cabaret Symposium.

The very warm and generous Carol Hall was next on the program, with a delightful story about an encounter with Mabel Mercer, who sang and recorded one of Carol's songs on the TOWN HALL STAGE for a record called something like "Mabel Mercer and Bobby Short at TOWN HALL." The song was "Jenny Rebecca," originally written over 25 years ago about the birth of the child of a friend. Her second number was a fairly new song, "My Circle of Friends," written on the occasion of the premature closing of a Broadway show that Carol had written.

Another of my favorites, D.C. Anderson, followed. He opened his set with the very delightful "Operation" song, written by Christine Lavin, who had appeared as a surprise guest the night before. It indeed was an audience favorite. His second contribution was a song he had written, "Buddy Named Paul," about the loss of an early lover.

Next up was Catherine DuPuis, who sang "Now That I Love You," and a Rodgers and Hart tune that was given such a jazz treatment I lost track of the lyric, the melody, and even the title.

Marcy Heisler & Zina Goldrich are a songwriting team that always seem so perky and cheerful, they seem to belie the old adage that creativity only comes from despair. Certainly there was no despair to be found in either of their entertaining numbers: "Make Your Own Party," and "Oh, la, Lola." Now where do I find one of those percussive eggs!

No stage is too large for Baby Jane Dexter, and she stepped into the spotlight next and took over the room. Her first number was "No Invitation to Dance," followed by one of her classic songs, "Until the Real Thing Comes Along."

In my opinion, Eric Comstock's real forte is the cozy piano bar setting, not the concert hall stage. Thus I felt that his set was just a bit to scaled down for this huge hall.

To close the first part of the show, KT Sullivan & Jeff Harnar sang a 15 minute (it seemed much longer) salute to Leonard Bernstein. Having already heard seven performers (of a total of 16 on the night's program), I personally would have preferred this section be cut back. This is not to in any way detract from the fantastic talents of these two cabaret favorites.

After the usual ten minute intermission (during which time I actually had a chance to sneak around the corner to McDonald's Express and scarf up a BigMac) John Wallowitch & Bertram Ross did their two-song set. Their first song was "Let's Go Native," followed by "Night Train to Chicago." These two gents have been performing these old songs for years, and Bertram Ross remains, even now, one of the handsomest men in cabaret.

Pretty and perky Lizz Manners was next. She seemed just a bit uncomfortable in the striking white gown she was wearing (Liz is more a "jeans & blouse" type") but that fit aptly into the theme of her first number, "When I Was a Boy."

Songwriter Steven Lutvak has been around the country performing his own songs, and recently did a few sold-out shows at EIGHTY EIGHT'S. He presented two of his originals, "Rewriting History" and "The Dinner Party." The latter never ceases to entertain - it has become Steven's trademark.

Next we were treated to the TOWN HALL/CABARET CONVENTION debut of Paul Hull, who hails from London and has just begun his solo career after singing for many years with vocal groups in England (and touring around the world). Paul has a very fine voice, and certainly knows how to make friends with an audience. His two numbers were quite a contrast with eachother: "I Wish You Love," (the title track of his new CD) and "Assassin."

No one can miss a Mark Nadler arrival - Mark came on stage with such energy (he is not a shy man) I could not believe that about 5 minutes earlier he was standing just a few feet away from me at the side of the balcony! (I had arrived a few minutes late from intermission, and rather than repeat my interruption of the others in my row, elected to stand at the side for the second half.) He opened with his flamboyant rendition of "Go To The Devil," followed by his Bojangles tribute, which includes a bit of tap dancing.

Almost as a relief from Mark's antics, Tom Andersen was introduced as the next performer. I have been to several great Andersen performances this past year - three at EIGHTY EIGHT'S, one at BRADSTAN HOTEL, and also a few benefits. But Tom's rendition of "Storybook" from the SCARLET PIMPERNELL this night was simply perfection. The audience responded with what seemed like 10 minutes of applause. His second number, a delightful reading of "Let Yourself Go," was as impressive.

On to Cabaret Convention Night Four Thursday, October 15, 1998

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