Norm Lewis works his way through the club patting shoulders, shaking hands, singing “Don’t Rain On My Parade” (Jule Styne/Bob Merrill-Funny GIrl). “This is not a show, not a concert. You’ve been invited to my living room…” he tells us. You’d think that’d just mean a more candid approach. What occurs is an excess of patter and personal call-outs, too much reading of lyrics, and surprising lack of focus. Repeated mention of roles and awards not achieved comes off as a tad bitter rather than modesty he protests while listing accomplishments.
Lewis has a splendid vocal instrument and marvelous control. He’s a likeable guy. The collection of Broadway songs, mostly from the performer’s veteran career, is a good one. When presenting material in context, especially past roles, however, character is paramount. To smile through Stephen Schwartz’s “Corner of the Sky” (Pippin) in which the young prince is confused and disturbed, contradicts the meaning of the song.
Norm Lewis
As General Washington performing “Right Hand Man” (Lin Manuel Miranda- Hamilton – he didn’t get the part) – and Harold Hill delivering “Trouble” (Meredith Willson – The Music Man), Lewis manages acrobatic phrasing with clarity and rhythm. During the latter, he effectively descends into the audience confronting “townspeople.” The first exhibits no character to speak of, the second lacks gleeful deception. “Poor Unfortunate Souls” (the witch’s song from Alan Menken/Howard Ashman’s The Little Mermaid) exhibits no evil.
“Summertime” (George and Ira Gershwin) – from Lewis’s turn in the Broadway revival of Porgy and Bess – offers his signature baritone – deep and flannel. And he’s present. “I Gotta Be Me” (Walter Marks – Golden Rainbow) also gets his attention. It’s dramatic, not over stressed. Even shaking of fists is restrained. “Try to Remember” (Harvey Schmidt/Tom Jones – The Fantasticks) emerges just lovely. Shimmering cymbal, circling brushes and chimes decorate understatement.
Brian Stokes Mitchell, Norm Lewis; Brian Stokes Mitchell
A duet of “Agony” (Stephen Sondheim – Into the Woods – he didn’t get the role) with guest Brian Stokes Mitchell casts the artists as obliviously egotistical royalty. Mitchell acts the part. Lewis sings. Mitchell then performs a show-stopping “Feeling Good” (Anthony Newley/Leslie Bricusse- The Roar of the Greasepaint, The Smell of the Crowd). Starting a capella with rippling piano, the performer is exultant. He moves across the stage like a dancer, expansively extends arms, leans out, connects, and seduces the audience. Where, we want to know, is YOUR show?
Guest Nova Payton joins Lewis for “The Impossible Dream” (Mitch Leigh/Joe Darion- Man of La Mancha) “Don’t fuck it up, Norm,” Stokes Mitchell calls out, this having been one of his notable roles. Its lyric is decidedly not meant to duet. Payton then offers the obscure “Again” (Nolan Williams Jr.- Grace) with terrific gospel precision and pronounced vibrato. Mitchell and Jay-Alexander literally kneel at her feet.
Norm Lewis, Nova Payton; Nova Payton
“My Friends” (Stephen Sondheim- Sweeney Todd) and “Music of The Night” (Andrew Lloyd Webber/Charles Hart – Phantom of the Opera) are high points. Both are vividly performed. Lewis hypnotically manifests Todd’s relationship to his razor. There’s elegance to the gravitas of the Phantom. Tremulous finesse and soaring tenor still the room. The number ends airbrushed. “Lucky to Be Me” (Leonard Bernstein/Betty Comden & Adolph Green- On the Town) with lush piano, expresses sincere feelings of gratitude.
Joseph Joubert’s musicianship at the piano and, one presumes, arrangements, are splendid.
One can’t help but be disappointed at Norm Lewis’s erratic acting. Talent is as obvious as warmth but performance is unsustained.
Norm Lewis: Summertime
Guests: Brian Stokes Mitchell, Nova Payton
Directed by Richard Jay Alexander
MD/Piano –Joseph Joubert
Perry Cavari – Drums, Dylan Shamat-Bass
54/Below
254 West 54th Street
Photos by Alix Cohen
