At six years old, emulating his mother, playing piano by ear, it would never have occurred to Steve Ross or his family he’d become Crown Prince of Cabaret. By the time he finished high school, he’d rarely practiced. A staunch Catholic, Ross entered the Society of Jesus. Head of the seminary found the young man “ill suited to the path.”
Ross registered at Georgetown University with an eye to teaching. He worked in a ragtime time piano bar and did a stint in the army – mostly performing. Back to civilian life at 23, the young man found himself at loose ends. “For seven years I played in piano bars, took up smoking, went out to lunch and looked for love.”
Photo Courtesy of Steve Ross
One night at a friend’s house, Ross heard the Liberty Music Jazz recordings of Lee Wiley, Bobby Short and Cole Porter. “I realized you could sing standards in a different way, which is the essence of cabaret.” He decided to come to New York. Sixty years of gradually international performance in clubs (Ross opened The Oak Room at The Algonquin), concerts, and theater (including Broadway) followed.
Initially reluctant to sing as well as play, that aspect of his shows emerged gradually. “I wouldn’t say there was hushed silence, but people paid attention.” Mastery of certain songwriters was organically established. No one, for example, presents Cole Porter or Noel Coward as authentically as Ross.
Photo by Peter Ligeti
Skill and sophistication grew in tandem with innate sympathy for earlier, more refined eras. The attribute would not have flourished, however, without deep sensitivity, superb phrasing, and awareness of context. Life experience is evident in every note and phrase. Few can be as legitimately jaunty or as moving. The honoree has not only earned his place in the pantheon, but along the way taught, mentored and established long term friendships, many visible tonight. Carolyn Montgomery reads performers’ thoughts.
Ron Spivak and Hector Ubarry open festivities with the duet from Man of La Mancha (Mitch Leigh/Joe Darion). “He sang at my wedding… I’m honored to be part of his regular group of performers,” Spivak says. “When I came to New York, I was told Steve was the one I needed to see. We never lost touch…” Ubarry recalls.
Ron Spivak and Hector Ubarry
Spivak has played Don Quixote on stage. As the character’s monologue begins, he unpacks and applies eyebrows, a beard and mustache. Performance is sharp and proud, back straight, eyes blazing, vocal resonant. Ubarry’s forceful tenor strides in with persuasive faith. Both hold reins as they sing. Well matched. (Michael Lavine, piano.)
Pianist Judy Carmichael has been engaged to Steve for 40 years. He calls her Mrs. Ross, himself,
Mr. Carmichael. “He’s shown me how to live an artistic life,” she says. A rendition of “Honeysuckle Rose”
(Andy Razaf/ Thomas ‘Fats’ Waller) is precise and spirited with imaginative inserts. Carmichael gracefully bounces.
Judy Carmichael, Mark Nadler and KT Sullivan, Tom Andersen
Mark Nadler and KT Sullivan duet “One More Walk Around the Garden” (Alan Jay Lerner/Burton Lane). Nadler thanks Steve for “a lifetime of wonder and awe.” Sullivan calls him “the most generous performer
I know.” The song arrives stylish in an arrangement of overlapping vocals. Anticipation emerges bittersweet.
Tom Andersen met “THE Steve Ross” at 1991’s Cabaret Convention. “You are one of a kind. I thank you for all the things you do and all the things you are,” he tells Ross. Richard Rodgers/Oscar Hammerstein II’s “Ten Minutes Ago” is tremulous and theatrical. (Michael Lavine, piano.)
A change of genre occurs with Eva Swan’s “Ain’t No Mountain High Enough” (Nickolas Ashford/Valerie Simpson). “I met Steve 16 years ago and wondered whether this very well known artist would be interested in performing with VocalEase. (The organization which Swan founded and runs performs at hospitals and retirement centers.) He did and does. Swan enthusiastically conjures the Motown vibe.
(Carl Danielsen, piano.)
Eva Swan, Zachary Stains, Eric Comstock and Barbara Fasano
Zachary Stains’ “This Nearly Was Mine” (Richard Rodgers/Oscar Hammerstein II) is rueful recollection. Arms at his sides, the vocalist channels everything into fulsome expression. Stains met Ross at a party honoring John Wallowitch. “He is the stuff of dreams,” Stains sighs. (Steve Ross, piano.)
A haunting “I Cannot Hear the City” (Marvin Hamlisch/Craig Carnelia) stills the room by way of Eric Comstock and Barbara Fasano’s evocative interpretation. He remembers a performance at Symphony Space deemed “smokin.” The men are a mutual admiration society. Fasano received a treasured compliment from Ross at her Philadelphia performance many years ago. “I floated back to New York.” The song is a perfect blend of atmospheric tone.
Steve Ross and Dorothy Wiggins, Craig Pomranz
Centenarian Dorothy Wiggins calls the honoree “a friend and dear companion.” With Ross at the piano, the two render Cole Porter’s “Who Wants to Be a Millionaire?” Wiggin’s resolute “I don’t!” is wry and persuasive. ASA Pomranz Performance Grants are generously awarded to Vicki Burns, Susan Derry, Justin Dylan Nastro, and Mary Stanford by the organization’s president, Craig Pomranz, “providing a boost to people who demonstrate both talent and dedication to their craft.” Those in attendance stand to applause.
Veteran Peter Mintun has spent much of his life in elevated cabaret rooms. He met Ross in 1980 appreciating “both his musicianship and wicked, wicked, wicked sense of humor.” Dorothy Fields/Jerome Kern’s “Waltz in Swingtime” is a highlight of the salute. Head nodding back and forth, left hand gracefully rising and falling, the artist conjures exhilarating footwork.
Frequent performance partner Shana Farr “was a cabaret virgin until I was taken on a date to The Algonquin to hear Steve Ross. I was fortunate to be invited into his world…He’s helped me become a better performer and a better person.” Jerome Kern/Oscar Hammerstein II’s “Why Was I Born?” evokes palpable distress. Soprano is vibrant. Curiously, Farr is one of only two participants who greet the honoree.
Peter Mintun, Shana Farr, Jean Brassard
“Plaisir d’Amour” (Jean Paul Martini) is performed in a French duet by Jean Brassard and Ross. “I have very few complaints about Steve Ross. You’re always in a good mood – well, there was one occasion in 2006…When I make the slightest joke, you burst into laughter I don’t think is appropriate…Other than that, you charm the pants off us with wit, brilliance and wild fingers…” The pair are sympathique, in love of France, music, and emotional response. “I can’t help falling in love with you,” Brassard sings in English. “Can you?” he asks, turning to us.
“They call him the Crown Prince because he transports us to another universe,” Eric Michael Gillett begins. “How grateful I am that he considers me a colleague and a friend.” At Ross’s request, Gillett performs Noel Coward’s “Come the Wild Wild Weather.” This is an actor. Phrasing is impeccable. At one immensely moving point, the artist turns to Steve. “reason for grief, reason for tears…” (Dennis Buck, piano.)
Eric Michael Gillett, Steve Ross
Frank Dain, longtime editor of Cabaret Scenes Magazine/treasurer ASA, presents Ross with his award. “A lot has been said about this man tonight. Having worked with Darrell Henline, I know he’d approve. Steve’s dedication is unparalleled…”
With Lavine at the piano, the celebrant sings “Time” (Barry Kleinbort/Joseph Thalken): “We were both so young/I didn’t have a dime/What we had was plenty of time…I told all my dreams to you/And you promised they’d all come true/In time…” Audience holds its breath. A perfect choice. Ross follows with “Old Friend” (Gretchen Cryer/Nancy Ford) communicating truth. “How nothing lasts/How people change…” he sings, vocal breaking slightly with sentiment. We hear modesty and gratitude.
Steve Ross
Richard M. Sherman/Robert B. Sherman’s “No More Goodbyes” closes this evening with collective, heartfelt feeling.“When I rise every day,” Ross tells us, “I think of this phrase by Marcus Aurelius* ‘Think what a precious privilege it is to exist.’ I’ve added to it; to create, to make music, to love and to laugh. I’ve been hoodwinking an unsuspecting public for 60 years.” If we could, we’d give him 60 more. Now and forever, there is only one Steve Ross.
Photo Courtesy of Steve Ross
*The last of Rome’s Five Good Emperors and a Stoic philosopher.
Performance Photos by Conor Weiss
Opening Frank Dain and Steve Ross
Celebrate Steve Ross: The 2025 Darrell Henline Award
Michael Lavine – MD/Piano
Carolyn Montgomery, Executive Director of American Songbook Association- Announcer
Frank Dain, Editor Cabaret Scenes, ASA Treasurer – Presenter
ASA: American Songbook Association
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