WHAT'S WRONG WITH THE MAC BALLOT
by David McMann

Editor's Note: From time to time, cabaret gadfly David McMann sends us his comments on the passing cabaret scene. Here is his take on the 2002 MAC AWARD PRELIMINARY SAMPLE BALLOT which was released yesterday (1/29/02). The ballot itself can be viewed on the MAC (Manhattan Association of Cabarets & Clubs - http://www.macnyc.com/) website.

If the preliminary ballot for the 2002 MAC Awards is a true reflection of the state of cabaret, things look disappointing. Yes, there was lots of terrific work done in 2001, and many, many talented artists can be found on this ballot, each richly deserving of recognition. But also many cannot. Conspicuous by their absence: Ann Hampton Callaway, Andrea Marcovicci, Mary Cleere Haran, Barbara Cook, Bobby Short, KT Sullivan, Tom Andersen, Eric Michael Gillett, Mark Nadler, Billy Stritch, John Pizzarelli, Steve Ross and Margaret Whiting. Some of them have been generously rewarded by MAC. Perhaps they graciously chose not to enter this year to make way for others. Then again, perhaps some didn't feel it was worth the time or effort.

Either way, their absence is keenly felt when you see the paucity of performers on the ballot. Of the 29 categories listed, 14 of them (almost half) have only 5 performers or fewer competing. What does it say about the value of a MAC nomination when, in many cases, you can get one simply by submitting your name? Was there any consideration to consolidating some of the smaller categories? Why not combine the categories of Male and Female Musical Comedy? There are only 6 entries for Female Major Artist Recording and only 2 (!) for Male Major Artist Recording. Why not just have one category for Major Artist Recording?

And the situation is even more dire for jazz/pop/R&B singers. There are only 7 entries for Female Jazz/Pop/R&B Vocalist and only 5 for Major Female Jazz/Pop/R&B Vocalist. And there are NO entries for Male Jazz/Pop/R&B Vocalist or Major Male Jazz/Pop/R&B Vocalist. Those categories don't even exist. In a jazz capital like New York City, it's pathetic that not one male jazz singer thinks enough of MAC to enter. And it's staggering that there isn't a single entry at all from such top jazz clubs such as the Blue Note, Iridium or Birdland (all MAC member clubs!).

Things are skimpier still in the three comedy categories. Of the 12 entries total, 9 of them will be MAC nominees: 75% of the artists entering, already can win. Do you know of any awards with this kind of ratio? New York is full of comedy clubs, full of comics hungry for attention. What does it say when comics don't even think to apply for the one industry award in town that recognizes stand-up? MAC can say, "Well, that's all the entries we got," but it truly needs to do a better job of outreach in the comedy (and jazz) clubs. In the past, MAC nominated funny women like Caroline Rhea, Joy Behar, Judy Gold and Rosie O'Donnell. Can MAC really be satisfied that its 2002 ballot is totally devoid of any major female comics?

On the other hand, there's no shyness in the categories of cabaret recordings. Only a few years ago, MAC used to give out only one award to handle all CDs: male, female, major, non-major, compilations, etc. Last year, there were 4 categories. Now it's ballooned to 5 categories, and they now constitute one-sixth of the MAC Awards. In fact, one category, Multiple Artists Recording, consists of only 3 candidates - all de facto nominees. In truth, this category appears to exist basically to reward the one producer who has been putting out a new compilation CD each year. And then there are the curious omissions. If Sam Harris and Michael Feinstein are eligible as Major Male Vocalists, where aren't their new CDs, "Revival" and "Romance on Film, Romance on Broadway" (and a Grammy nominee), on the ballot, too?

Yes, the preliminary MAC ballot raises many questions about who's on it, and who's not. If the MAC Awards are to truly represent excellence in cabaret, jazz and comedy, how can they be taken more seriously so more artists apply for them? MAC is more important than its annual awards, but since they're the most visible aspect of the organization, it needs to boost their integrity and inclusion among all performers.

 

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