Category: Editorial

Cabaret Review: Michael Feinstein

Titled “A Gershwin Holiday”, this show features Feinstein singing only songs by George and Ira Gershwin, without any actual holiday songs until the encore (George Gershwin had passed away before Christmas songs came into vogue). Michael draws on his recently released book The Gershwins and Me, which itself draws on his six years (1977-1983) working as an archivist for Ira.

Unusually for cabaret, Feinstein has an opening act, the 16-year-old Nick Ziobro, the winner of the Michael Feinstein Initiative’s 2012 Great American Songbook High School Competition. Ziobro’s an astonishingly assured young singer, with a high tenor reminiscent of Feinstein and Fred Astaire – and even Harry Connick, Jr. when he really gets going.

Michael’s show is both shorter (to make room for Ziobro, of course) and more understated than past holiday offerings. That’s not to say that it doesn’t swing: Musical Director Alan Broadbent leads a 5-piece ensemble of tasteful jazz players who play elegantly but never for a moment lose sight of the rhythmic vitality and invention that was one of Gershwin’s hallmarks.

The only song in the show that doesn’t have music by George Gershwin is one that Ira co-wrote with Kurt Weill, “Tchaikovsky”, which Michael includes as a salute to Danny Kaye, who celebrates his centenary this year. Feinstein executes that song’s brutally difficult lyrics quite well, but the evening’s most musically stunning moment is a sort of “Gershwin fugue” built around “Embraceable You,” which features Michael singing that song, while he and the band play tidbits of not one but 15 other Gershwin songs. Dazzling.

For tickets, click here.

For more reviews and interviews by Jonathan Warman, see his blog Drama Queen.

Theatre Review: The Sound of Music

Elena Shaddow so owns the role of Maria in The Sound of Music that I never once thought of Julie Andrews while enjoying Paper Mill Playhouse’s opulently traditional revival of the Rodgers and Hammerstein classic. In the musical, set near Salzburg, Austria just before World War II, a postulant nun, Maria Rainer, is sent by her Mother Abbess to be the governess to the seven children of widower Captain Georg von Trapp. She teaches them the basics of music, starting a path that will lead them to becoming the world-famous Trapp Family Singers.

Shaddow plays Maria as much more of a nun than Andrews did, making the story of her falling in love with the children (and not incidentally the Captain) all the more poignant. Ben Davis is just as terrific as the Captain, splendidly conveying the loneliness and romanticism that bubble just beneath his stern exterior. Davis also excels at conveying the Captain’s deep patriotism as Austria faces a forced unification with Nazi Germany. The way Davis sings “Edelweiss”, there is no doubt that the Captain sings this paean to the Alpine flower as a deeply felt gesture of defiance.

The biggest star in this production, Frasier‘s Edward Hibbert, turns the opportunistic Max Detweiler into a charming Austrian version of Noël Coward. In general director and choreographer James Brennan has paid scrupulous attention to the way in which Rodgers and Hammerstein simply – and therefore powerfully – underlined the importance of music in nourishing the human soul.

James Fouchard’s set design is also a noteworthy achievement; at once lush and simple, it cannily marries realistic details with operatic, non-realistic frames. This is a more than successful revival, that not only communicates what’s wonderful about this show, but also vividly expresses its ongoing importance.

For tickets, click here.

For more reviews and interviews by Jonathan Warman, see his blog Drama Queen.

Theatre Review: Annie

This is my first time seeing Annie, and liked both the show and director James Lapine’s production well enough, in spite of intensely disliking the show’s big hit, “Tomorrow”. The musical is probably better known today than its source material, Little Orphan Annie, a daily American comic strip created by Harold Gray in 1924.

The musical sets the young orphan girl’s adventures in the early 1930s – the height of the strip’s popularity – in Depression-era New York. Annie ends up with Republican billionaire (with a heart of gold) Oliver Warbucks (though the musicals creators are clearly fonder of the politics of Franklin Delano Roosevelt, who plays a pivotal role in the show). What little plot there is revolves around Warbucks’s attempts to find Annie’s parents, despite secretly wanting to adopt her himself.

Anthony Warlow is marvelous as Warbucks, playing his emotional story with more detail and seriousness than many musical comedy performers would think to do, to good effect. Warbucks could easily be a stereotypical rich humbug, but not in Warlow’s hands. Lilla Crawford is as feisty as the role of Annie requires, sings brassily (sometimes too much so), but she only intermittently gets Annie’s sincere ache and joy right.

Katie Finneran seems like she would be an ideal Miss Hannigan to me, and she mostly is. Something is slightly amiss with her performance, though – this actress, who is a master of sharp comic timing, plays some moments too broadly. Is this due to some conceptual twist from Lapine? His direction is mostly as brisk and fun as it needs to be, but there is a nagging sense that he is taking all of this more seriously than he ought, which might be what’s affecting Finneran. In any event, everybody seems to being rowing in the same largely lighthearted direction, which makes for a diverting evening of theatre.

For tickets, click here.

For more reviews and interviews by Jonathan Warman, see his blog Drama Queen.

The new

Welcome to the new 7.0. As we’ve continued to grow over the last SEVEN years, we’ve expanded our list of fantastic contributors greatly.  By doing so, we also produce a lot more content.

With the new 7.0, you’ll be able to find stories faster while sharing what you find with friends faster using the new social networking widgets located with each story.

We hope you enjoy the new look, and we look forward to your feedback!

Happy Holidays,
Charles Winters/ CEO & Editorial Director

Cabaret Review: John Pizzarelli and Jessica Molaskey

I have previously described the gifted husband and wife team of John Pizzarelli and Jessica Molaskey as using a very satisfying “fire and ice” approach. In their current cabaret act at the Cafe Carlyle, however, the pair meld these opposites even more seamlessly, emulating the cool heat of a bourbon on the rocks. The Pizzarellis long ago reached very height of cabaret’s jazzier side, and just keep climbing higher, with John’s profound musical intelligence and nonpareil guitar playing and Jessica’s dazzling lyrical wit and increasingly soulful singing aiding their ascent.

The Pizzarellis compound their musical elements with the utmost elegance. Their new show focuses on the theme of “home”, and indeed their version of Paul Simon’s “Homeward Bound” is the best I’ve ever heard, with more raw emotion and brisker musicianship than the original – there’s that cool heat again! As is their wont, they mix familiar standards and contemporary pop-rock tunes, often pairing the old with the new in ingenious medleys and intricate combinations that are too complex and sophisticated to be called mash-ups.

Their band is one of the best in the business: when they launch into Al Jolson’s “Avalon”, John and the band solo with a vigor, verve and virtuosity that’s truly breathtaking to behold – Jessica uses comic understatement when she comments that this number is “just a little showy.” The Pizzarellis sing so smartly, swing so deftly and generally create a truly sparkling atmosphere – cabaret rarely gets much better than this.

For tickets, click here.

For more reviews and interviews by Jonathan Warman, see his blog Drama Queen.

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