Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.
John Kander (1927-) and Fred Ebb (1928-2004) were introduced in 1962 and collaborated on their firstBroadway musical, Flora the Red Menace (introducing Liza Minnelli) in 1965. Career highlights include the iconic may-run-forever Cabaret, successively revived Chicago- (both made into films), Lauren Bacall’s transition from film to theater in Woman of the Year, and the formidable Scottsboro Boys. The multifaceted team also wrote “New York, New York”, arguably our city anthem- the theme to Martin Scorsese’s 1977 film of the same name.
Certain music from Kander’s oeuvre is so evocative of memorable theater, it makes the hairs on one’s arm stand at attention. The Pop’s opening, Suite from Chicago does just that. Some of the audience bob in their seats or tap their feet, others mouth lyrics. More than an era or city, Kander and Ebb (here with Bob Fosse) captured an ethos of gleefully celebrated corruption uncomfortably familiar today. I suspect Cabaret continues to pack them in for the same reason. The shows are not just innovative and entertaining, they’re resonant.
John Kander in the balcony. To his right, director Susan Stroman
Tonight’s Guest Vocalists are both young Broadway veterans.
Cassie Leavy has a smooth, confident voice that can unfurl with moderation or belt, though she seems audibly more at home with the latter. She has stage presence. Results, however, are mixed: “Mein Herr” and “Maybe This Time” from Cabaret, lack pathos and bite. “Roxy” (Chicago) and “Everybody’s Girl” (Steel Pier) are missing their innately wicked play. One wonders whether the youthful performer understands the songs’ context.
More contemporary, ‘Ring Them Bells” (Liza with a Z) and “Colored Lights” (The Rink) fare better. Leavy embodies pluck and exasperation attributable to the first song’s protagonist. With the second, we feel hope and ambition as her voice lilts and loops with sweet, trailing vibrato.
Tony Yazbeck rushes through the terrific “Coffee in a Cardboard Cup” (70 Girls, 70) -due to speedy arrangement that robs the number authenticity and delivers a couple of songs as Billy Flynn from Chicago, a role to which he’s imminently returning, with no discernible charisma.
Tony Yazbeck, Steven Reineke, Cassie Levy
Act II, however, sees a complete transformation. Yazbeck’s delicate “Sometimes a Day Goes By” (Woman of the Year) with only piano accompaniment, is eminently tender and touching. “You, You, You” (The Visit) follows suit with palpable yearning. Both of these showcase the performer’s emotional tenor. Yazbeck then offers this evening’s zenith, “City Lights” (The Act) during which, having infectious fun, he grows fully animated, even engaging in loosey goosey, complex tap dance.
In addition to a sassy overture, The New York Pops Orchestra excels with “Hot Honey Rag” (Chicago) which grins, twirls, and flips its hat in textured musical layers and a powerful, lush rendition of “The Minstrel March” (The Scottsboro Boys).
Music Director/Conductor Steven Reineke keeps us abreast of each song’s origin with a bit of amiable patter. At his suggestion, we sing “Happy Birthday” to John Kander, spot-lit in the balcony. Far from retired, the honoree’s Kid Victory (written with Greg Pierce) is playing at New York’s Vineyard Theatre. He’s now at work on The Beast of The Jungle, based on a novella by Henry James.
John Kander celebrates his 90th Birthday on March 18. We honor both his partnership and continuing high craft.
Photos by Richard Termine Opening: Tony Yazbeck, Cassie Levy
NEXT for The New York Pops: You’ve Got a Friend: A Celebration of Singers and Songwriters- April 21, 2017
Carnegie Hall presents The New York Pops Steven Reineke-Music Director and Conductor Guest Artists: Cassie Levy, Tony Yazbeck Life Is a Cabaret: The Songs of Kander and Ebb
Mama Morton’s been sprung. After years of brightening stages in Kander and Ebb’s Chicago, Carol Woods returns to cabaret with Ain’t We Got Fun – The Richard Whiting Songbook. A tribute to his daughter, friend and mentor, Margaret Whiting, the show features Hubert “Tex” Arnold, Margaret’s Musical Director of over 23 years. Woods doesn’t do things in half-way measures.
“Margaret, you’re humming along, and, by the way, how did you like the song?” comes from a lovely piece of special material written for the iconic vocalist. Words ostensibly spoken by her daddy preface “My Ideal” the first song Margaret ever recorded, her first gold record. (Music credit shared with Newell Chase/lyrics Leo Robin.) Woods appears to be full of ingénue hope, palms open and extend as if welcoming. Latin-tinted drums rob a bit of the sweetness, but we believe ever word.
“Can’t Teach My Old Heart New Tricks” (lyric- Johnny Mercer) is more like a haunting than memory. By the time the arrangement slows to a Gershwinish coda, we’re as unmoored as the performer…but not for long.
“Sittin’ On the Curbstone Blues” erupts in feisty, red hot mama mode punctuated by hand gestures. There’s a fresh chicken fried/I can smell it outside/But it don’t mean a thing to me…complains an errant, locked-out lover. Bright and wry, Woods vocally shrugs, there’s lots of fish in the sea. (Lyric by and music credit shared with Haven Gillespie and Seymour Simons) This artist has known Margaret’s daughter, Debbie Whiting since she was three and distinctly remembers her wailing for fried chicken. A coincidence?
In similar vein, from the distaff side, “Somebody’s Wrong” is a vexed, hip-swingin’ honky-tonk shuffle… Nobody brings candy and things/I’m just nothing to no one it seems…how is this possible she seems to say…the world owes me a lovin’…Just for a moment, Woods assumes a Mae West stance. Don’t they know what they’re missin’?! Somebody’s wra-h-ho-ho-hong! She’s got this! The story-song is ably served by well honed acting chops. (Lyric-Raymond B. Egan/Henry I Marshall)
Arnold tells us that one day, in a stack of old writing by her grandfather, “the keeper of the Whiting flame” (Debbie) found a song called “A Day Away From Town” (lyric-Gus Kahn). The number, in Richard’s handwriting, was so provisional, there were no chord changes. Nor was it copywritten. Arnold filled in the blanks (“melody harmonized by”) and Woods was the first to record it. The vocalist starts low and slopes up as if seeking open spaces. It’s an easy sway, a deft soft-shoe, skylarking.
A second illuminating story reveals that lyrics for “She’s Funny That Way” – I Got a Woman Crazy for Me were originally a love letter left by Richard for his wife when he was called to Hollywood. Mrs. Whiting asked composer Neil Moret to write music and one of the great ballads was born. Woods sings it with gratitude, surprise and soul. A beautiful song just got more beautiful. Whiting, who clearly might’ve written lyrics too, penned such Hollywood classics as “On the Good ship Lollipop” and “Hooray for Hollywood.”
“Too Marvelous For Words” (lyric-Johnny Mercer) with bass vertebrae and exuberant piano and “Beyond the Blue Horizon” (music credit shared with W. Frank Harling/ lyric- Leo Robin) swung with syncopated beat and happy anticipation bring up the mood. It’s a rendition of 1928’s “Ain’t We Got Fun”, however, that carries us bopping out into the night. Woods is an evangelist for cheer, so full of light, the room resonates with optimism against all odds. (lyric/music credit shared with Raymond B. Egan/Gus Kahn)
Though patter could use a little work, this is an extremely entertaining show. Woods delivers genuine vulnerability and carefree pleasure as well as she does husky-edged lock n’build. Scott Coulter’s Direction is deft.
Good to have you back.
Richard Whiting was a multifaceted composer of songs for vaudeville, records, and films. There are eras during which you can’t musically turn around without brushing against one of his fine tunes.
Photos by Maryann Lopinto
Opening: Carol Woods, Saadi Zain
Carol Woods: Ain’t We Got Fun- The Richard Whiting Songbook
Directed by Scott Coulter
Hubert “Tex” Arnold- MD/Piano
Saadi Zain-Bass, Steve Singer-Drums The Metropolitan Room
34 West 22nd Street NEXT: August 22 & August 29, 2016
