Once again, cabaret denizens from around the country make a pilgrimage to Manhattan to celebrate the art of cabaret and support live music. They connect with old friends, compare opinions, and take the opportunity to talk to artists more heard than seen. From the valued familiar to newbies, the Convention offers a smorgasbord of entertainment.
Night One: “Put On a Happy Face”- A Celebration of Charles Strouse
Hosts Andrea Marcovicci and Jeff Harnar
Charles Strouse (GustavM at English Wikipedia This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license)
Charles Strouse (1928-) composed music for 14 musicals (three Tony Awards) and five films, wrote two orchestral works and an opera. Having studied with Aaron Copland and Nadia Boulanger, the composer’s classical background might’ve led him into other arenas. Like many musicians just out of school, however, Strouse played at cocktail lounges and accompanied singers. In 1949, he met lyricist Lee Adams at a cocktail party. Kismet.
Bryce Edwards; Andrea Marcovicci and Jeff Harnar
Bryce Edwards’ (banjo, vocal) “Never Fully Dressed Without a Smile” opens festivities with jovial brio. Playful sax by Danny Bacher and Jon Weber’s inventive piano create a lighthearted mix. “Bla dat da dat” Edwards and Bacher scat, managing to simultaneously grin. (Martin Charnin-lyrics) The artist’s “Frivolity Hour” always raises spirits. Hosts Andrea Marcovicci and Jeff Harnar follow with an enthused “NYC” then introducing Charles Strouse – in the house. (Martin Charnin- lyrics). The New York Times estimates 1997’s Annie is produced 800-1000 times a year. “You go into music because you love it. If it catches on, that’s a gift from God,” Strouse has said.
Stephen Schwartz assumes the piano bench thanking the honoree, “for lessons and laughter” garnered during their collaboration on 1986’s Rags, being revived at City Center’s Encores. “Children of the Wind,” normally performed by a soprano, is here made vivid by Ari Axelrod. Arms at his sides, hands curling just short of fist, the vocalist accosts truth with aching elegy (Jim Piela-clarinet, Joey Lamp-trumpet). Axelrod is the winner of the 2024 Julie Wilson Award enabled by Linda and Peter Hansen. The worthy artist is shocked. Most of us are not.
Ari Axelrod, Jeff Harnar, Andrea Marcovicci
Continuing with Rags, Leanne Borghesi renders “Blame It On the Summer Night” with as much class as there was formerly brass. One hand on the piano, performance is colored by discreet seduction (Nicolas Perez- piano). “I Want to Be with You” is rendered by Karen Mason with exquisite restraint plumbing the depths of devotion. The artist is a master of less is more (Christopher Denny-piano, Brian Lasser-arrangement; Lee Adams-lyrics).
Leanne Borghesi; Karen Mason by Connor Weiss
Craig Rubano tells us he began his career playing Wilber the pig in Strouse’s Charlotte’s Web. “There’s Always One You Can’t Forget” fully conjures both elusive presence and the singer’s almost reverential intoxication. Beautiful. (Beth Ertz-piano; Alan Jay Lerner-lyrics.) About collaborating on Dance a Little Closer, Strouse has said, “I’ve worked with a couple of characters in my life, Alan Jay Lerner being three of them.”
Craig Rubano; Karen Akers by Maryann Lopinto
Karen Akers imbues “It Would’ve Been Wonderful” with wistful rue and candor. The performer distills a song to its essence which imprints on audience hearts (Alex Rybeck-piano; Martin Charnin-lyrics). Can one even write “Marilyn Maye” these days without the prefix “great?” “I love what this song says. I mean what this song says,” she notes. “Put On a Happy Face” emerges low key, then swings. Bullseye.
Marilyn Maye
Newcomer Madalynn Mathews’s memorable “”Wanting” seamlessly segues from roiled to longing. The attractive, young performer is clearly an actress and someone who should be watched (Tanner Swinand-piano; Martin Charnin-lyrics). The inimitable Lee Roy Reams, having played the Thelma Ritter role as a gay dresser in Broadway’s Applause, sings the title song with gusto, ripe inflection, authority, and panache (Alex Rybeck-piano; Lee Adams-lyrics).
Madalynn Mathews; Lee Roy Reams
Maude Maggart tells the story of her mother, Diane McFee, cast as Eve Harrington, but replaced before Applause opened on Broadway. “She pinned a note to the backstage bulletin board: No need to feel awkward. We’re the same people; it’s the same show. “The Best Night of My Life,” radiating tenderness,
is directed to her mom in the audience (Gerald Sternbach-piano). In his element, Danny Bacher performs a vaudevillian “Burlesque,” replete with corny jokes, jaunty moves, a strip of white clown gloves, and vivacious clarinet. Fun! (Nicolas Perez-piano; Susan Birkenhead – lyrics.)
Maude Maggart, Danny Bacher, Jeff Harnar
“This is Charles’ most personal song, but the story is mine,” Jeff Harnar confides. “Summer” poignantly ends, “…when you can’t help wondering/Where do I belong…” Harnar’s heady interpretation bears the weight of fate with which we all identify. The hall quiets as if blanketed (Jon Weber-piano; Lee Adams-lyrics).
Marcovicci and Harnar offer “Those Were the Days” (theme song of television’s All in The Family)- with Harnar playing Edith. We close with Mary, Maggy, and Marta Moipei executing a marvelously arranged “Tomorrow.” Tonight Strouse/Charnin’s song seems both spiritual and anthemic. The trio is terrific (Antongiulio Foti-piano). Finale!
MOIPEI
Also featuring Tovah Feldshuh’s stand-up routine as Leona Helmsley (James Bassi-piano), a keyed up Lumiri Tubo (Nicolas Perez-piano), the creative harmony of Those Girls: Eve Eaton, Rachel Hanser, Karen Mack, Wendy Russell (Steven Ray Watkins-piano), Marisa Mulder’s sweet portrait of everygirl (Jon Weber-piano), Marieann Meringolo’s cool swing (Doyle Newmeyer-piano), Marta Sanders as Miss Hannigan- with props! (Alex Rybeck-piano), and a convincing “Welcome to The Theater” by Ann Anello (Richard Danely-piano).
At the special request of Jeff Harnar, the formed-for-tonight Don’t Tell Mama Dial Tones, sing a buoyant, gossipy “The Telephone Hour.” Artists from Don’t Tell Mama’s piano bar café include: Anna Anderson, Elaine Brier, Mason Butler, Tommy J. Dose, Lianna Klinger, Tara Martinez, Jon Satrom, and Paul Scott Pilcz, hysterical- who played Harvey Johnson on Broadway. (Gerry Dieffenbach- piano, arranger; Lee Adams-lyrics) Strouse admits having been fascinated with Elvis Presley. Albert Peterson, the Dick Van Dyke role, was written for – Jack Lemmon, but no one knew how to contact him.
Finale
The curation of this Convention concert deserves special note. Not only did it run smoothly, but familiar songs were combined with welcome, lesser known material. Choices seemed to suit performers. Lastly, rarely have so many artists been so moving.
Performance Photos, unless otherwise credited, by Richard Termine
“Put On a Happy Face”- A Celebration of Charles Strouse
Hosts Andrea Marcovicci and Jeff Harnar
Nicolas Perez-House Music Director
Ritt Henn-Bass; Sherrie Maricle- Drums
October 22, 2024
Jazz at Lincoln Center’s Frederick P. Rose Hall
Jazz at Lincoln Center
The Mabel Mercer Foundation
