Hard as it is for those of us associated with the Back Stage Bistro Awards to believe, this year marks the 20th anniversary of an event inaugurated by the late Bob Harrington, the original "Bistro Bits" columnist. It was Harrington's belief that people toiling in cabaret deserved the occasional pat on the back. He saw to it that they got it—originally in larger numbers than is the case today. To mark the event, Editor in Chief Sherry Eaker and current "Bistro Bits" columnists John Hoglund and David Finkle decided to run the risk of seeming to pat themselves on the back by asking winners from each of the award's 20 years to chat about what the Bistro, which is an engraved glass plaque, has meant to them and their careers. Hoglund and Finkle also wanted to know about any unexpected developments as a result of winning the award, at what stage in the recipient's career it was won, and where he or she keeps the award. Here's what the honorees for Outstanding Excellence in Cabaret had to say:
Michael McAssey, 1985, Singers, Outstanding Excellence (also 1986, for Performers in a Revue or Theme Show, for "Innuendo…Out the Other")
For the past few years, he has resided and worked in Aspen, Colo. He returns to New York cabaret in the spring.
"At the time (back when dinosaurs roamed the earth), an award was very encouraging because not much attention was given to anyone doing what we were doing. My Bistro Award made me feel like a real part of the New York cabaret community. I was very grateful to Bob for this remarkable recognition. At the time I won, the awards were brand-new and nothing like the awards today. In fact, it was just an announcement by Bob in Back Stage, so I don't have a special night or event to remember winning. But to me, it was prestigious nonetheless. Mine is hanging proudly on my wall in Aspen. I'm glad that the MAC Awards, the Bistros, and the Nightlife Awards continue to encourage cabaret talent—the old (like me) and the new alike. Cabaret needs as much recognition as possible and Back Stage has been a constant."
Matt Berman, 1986, Technical Awards for Light and Sound
Currently lighting the American Songbook series at the Time Warner Center, among numerous freelance assignments.
"It was wonderful recognition—especially in the technical field—that people even recognized what we did. Usually cabaret is all about the performers. So it was not only a wonderful compliment to me, but it made me realize people recognize our contribution to an evening. Also, this award came from a publication. It wasn't voted on by peers; it wasn't a competition. Somebody thought you did good work. It wasn't that you happened to be the one that everybody knew. I got the Bistro very early in my years. I was at the Duplex at the time. Bob Harrington and Sherry Eaker gave me the stamp of approval and said, 'You're good at this. Keep doing this.' I think it made people more aware of me earlier on. It gave me a little more credence with new people. I came with a stamp of approval when I started working with them."
Ricky Ritzel, 1987, Revues & Theme Shows, for his show "A Man & His Piano Go to Hollywood" (also 1986, Special Award for Outstanding Excellence, as part of the show "Julie, Julie, Julie," and 1989, for Musical Revues, for his show "1938")
Currently touring Manhattan with a Johnny Mercer 100th birthday tribute, co-starring Leslie Anderson.
"It was Bob Harrington who put [the announcements] in the paper. There was no ceremony and no award to hold on to. He used to put them out in the first week of January. Bob was the first critic you could count on, even if you were just starting out. He would tell you if you deserved a review or you didn't. I remember I was working until four in the morning, and all of a sudden there are awards in the paper. It was just one of those things where you didn't anticipate anything and thought, 'This is nice.' A competition award—that's one thing. To be recognized without nominees—I like that. The Bistro gets you jobs out of the city. People in Iowa say, 'Oh look, they got an award in New York.' My certificates—there are three in the hallway leading to the bathroom."
Rick Crom, 1988, Outstanding Songwriting, for his song "One Last Prince" (also 1999, for Musical Revue, for his show "Our Life & Times")
Currently has the musical revue "Newsical" running.
"In general, I think all of the awards are a great validation that what we're doing is legitimate and worthwhile. The Bistros have a certain element of exclusiveness the other awards don't. The number of nominees is smaller; the number of categories is smaller. I can't point to any specific career boost, other than having it as a credit on the resume. It's all cumulative. My first award is currently in storage, but I did have it prominently displayed on the mantel when I had a fireplace. I'll find another place for it. When I won for 'Our Life & Times,' that was really special. It was the first time I had been acknowledged for writing a show."
Jeff Harnar, 1989, Musical Revues, for his show "Carried Away: Jeff Harnar Sings Comden & Green" (also 1987, for Male Vocalist)
Currently working on his latest CD, to be released in the spring.
"That first recognition by Back Stage was pivotal in my professional life. It gave me recognition in cabaret by other critics and by my peers. I was taken more seriously and that gave me the encouragement to move forwards. Winning my Bistro Award absolutely helped reinforce my future. And any reinforcement helps when you're just starting out. Back Stage has always been there for performers early on in their careers. The award gave me that focus I needed professionally. Right after the Bistro winners were announced that year, Margaret Whiting called me and said her friend Bob Harrington told her I was the next big deal in cabaret. And she came to see me."
Sara Zahn, 1990-91, Outstanding Female Vocalists
Recently completed a comeback run at the Hideaway Room @ Helen's.
"It was an incredibly wonderful thing. I'd worked in the business, on stage since I'm four. But cabaret was a whole new area. I really missed the live venues, but theatre was not really an option. I had a baby. I didn't want to be away that much. I think I really started doing cabaret in 1989—maybe '88—and was just playing around these little places. By '91, I zeroed in on what I was doing. I started to get a few little reviews, but winning the award was a big turning point for me, a validation. I decided I'd better get a director and a real musical director. It was incredible—the night of the Bistros, being a part of the whole community. Up to then, I'd been by myself, except for the club owners I knew. But to be accepted into this community was a big thing for me—seeing who directors were and musical directors and who the other people were. I was walking around that night asking about people. I could find the information. It was very, very meaningful. It was an acceptance for me. I started to meet and make some friends that night. And I had never won anything before."
Baby Jane Dexter, 1992, Outstanding Vocalists (also 1994, for Outstanding Recording, for "I Got Thunder")
Most recently completed extended runs at the Duplex and the Hideaway Room @ Helen's.
"I remember Bob Harrington saying he created awards so underappreciated artists could be recognized. Awards would validate artists he loved so much. Bob Harrington wanted everyone to have an award. Maybe not everyone. He thought there were all these awards for everything, and the cabaret community didn't have anything. When I won, I remember not wanting to tell people, like I didn't want to show off. It felt great and I did want to tell people. All of these things meant something. People seemed to pay a little more attention. It was just an honor. I was so driven, and so afraid I would fail at being a singer, that all these things kept me going. Everything helps you become better at promoting yourself. Everything helps to make you feel appreciated. I got to relax for a little minute. I had that focus. I was back singing, and it wasn't easy starting over. I remember the year before I won my award, I had just started at Eighty Eight's, and I remember standing out there for those awards by precinct—is it 66? Sylvia Syms was being honored. It was like there was no room for people to go in and I felt like I was on the outside of the circle. The year later I was inside, and the award gave me the kind of tool that would help me get work out of town. When I won again, it was for the 'I Got Thunder' album, and that was lovely, but the first one of anything is important. When I won the singer award, I remember being really worried that the big spot on the show was this girl singer thing, and I was afraid I wasn't going to do it justice. Where are my awards? I keep one on the piano and the other one I gave to my mother. When I started back in the '90s, she came every Saturday. I was so afraid people wouldn't come see me. It was fun to get the award—to be appreciated—because Bob Harrington was devoted and dedicated. It meant so much to him to bestow it. It took me a little while to understand him. He was very caring and looked out for people. He'd say, 'Nobody bites my divas but me.' "
Charles Cermele, 1993, Vocalist (also 1996, for Outstanding Recording, "Look in My Eyes")
Currently the associate producer of contemporary programming for the American Songbook series for Jazz at Lincoln Center.
"Back Stage is a weekly periodical that consistently devotes a lot of space to cabaret coverage. Winning that Bistro Award in 1993 was the first feeling of legitimate recognition by the industry. I used it as a building block to move ahead. It gave me a stronger sense of commitment to that community. My fondest memory about winning the award is Sherry Eaker's kindness and interest in my CD, 'Look in My Eyes.' I felt that she had a commitment to cabaret and I was honored at her taking such a nurturing interest in me. That interest meant a lot to me. My advice to newcomers? Be realistic. Gain an understanding of how the music industry works as a whole and how cabaret fits into the larger picture. Also, cabaret performers should think outside the box by getting involved in the Grammys. It only takes six recorded songs to be eligible to join the Grammys, and there is a contemporary pop category. I think this will help performers get wider recognition and help their careers to grow."
Barbara Fasano, 1994, Outstanding Vocalists (also 1999, for Recording, "The Girls of Summer")
Recently performed her Harold Arlen show at the Duplex and will be featured in the upcoming centennial tribute to Arlen at Carnegie Hall in March.
"Winning my first Bistro Award was a wonderful surprise that made me feel so very honored. Marty Schaeffer gave me my first review in Back Stage in those early days. That nurturing welcomed me to a community I was new to then. I felt I had a real place in the cabaret community. Mostly, the Bistro Award gave me the confidence to continue to move forward and hone my craft. The second Bistro was just extraordinary. John Hoglund and Roy Sander gave me such support throughout the run. As a result of this support and their recognition, I received wonderful endorsements from people I respected in the industry. My personal opinion is that the spirit of the Bistro Awards makes them the best awards because they are not a popularity contest—no politics—and are chosen by very knowledgeable, committed critics who see many shows and are familiar with the work of many performers. To know that someone acknowledged me artistically tells me 'They got it.' That alone can break your heart with happiness."
David Friedman, 1995, Outstanding Songwriter
In 2004, a musical revue of his songs played Off-Broadway. His company, Midder Music, has just released a live performance album of the late Nancy LaMott, "Live at Tavern on the Green."
"I was never more enthused than when I won my Bistro Award in 1995. That award stood for many things to me. Firstly, it gave me a much-needed boost of self-confidence at a time when I was just getting started. That recognition made me feel more important and it made me know I wasn't just writing for myself anymore. It also made me feel that I had to work harder and write better songs because I am truly being acknowledged by critics in an industry I love. It took me to the next level in my career. I looked at myself more professionally. I was filled with a self-assurance I didn't have before. I truly was proud of that award. I keep it in my office on the top shelf, right next to Nancy LaMott's Bistro and MAC awards."
Lisa Asher, 1996, Outstanding Vocalist
Currently performing and directing.
"It meant a great deal. It's professional acknowledgment from people who see everything that there is to be seen. I think it's very prestigious. You guys know everything that's out there. It's not a popularity contest. I can't imagine that everyone who votes for a MAC Award sees everything. As a professional marketing tool, it's good. It makes a difference when I'm trying to get bookings—pitching for corporate gigs. They ask, 'What awards do you have?' It's the first question. It's really important. Corporate people want to see how you're received. When I got the award, I was thrilled—I was really thrilled. I had a great sense of pride. It makes me feel pretty darn good. I wanted to produce my own work and it helped to get that kind of acknowledgment and respect. The award is on a shelf in our living room. I'm proud of it. It's an acknowledgment of something I worked very hard to create. I remember Julie Wilson being there and I remember seeing her. I'd been at the O'Neill and got to know her there, and she was so happy for me."
Karen Mason, 1997, Special Award, "for preserving the songs of the late Brian Lasser through her recording 'Better Days' " (also 1985, for Singers, Outstanding Excellence; 1986, Special Awards to Crossover Performers, for concerts at Minetta Lane and for "Not So Simply Broadway"; and 1988, for Outstanding Achievement in Sustaining Long Runs and/or Frequent Engagements Based on the High Quality of Their Performances, the Bistro Award for the Cabaret Box Office Champions of 1988)
Karen Mason has appeared on Broadway in shows like "Mamma Mia!" and "Sunset Boulevard," and continues to appear regularly in cabarets and concert halls, including a recent engagement at Feinstein's at the Regency and an upcoming March booking at Queens Theatre in the Park.
"I just want to say how grateful I am to Back Stage for their continuous support and nurturing of new performers through all these years. That support helped me so much early on and still does to this day. I'm very proud of my Bistro awards and they're displayed prominently in my home. They have a very special place in my heart, as they also honor my longtime collaborator, the late Brian Lasser, who was my treasured friend, musical director, arranger, and a superb songwriter who played an integral part in my career."
Jeanne MacDonald, 1998, Outstanding Vocalist
Returns to the Hideaway Room @ Helen's in March with her latest show.
"I can honestly say that the experience of receiving the Bistro Award and of performing at the Supper Club that evening still stands out as one of the most memorable experiences personally and in my career. After performing cabaret in New York City for over two years, that recognition of my work gave me a sense of validation. It gave me an affirmation I needed that I was moving on the right track. The evening I received the Bistro Award remains very clear in my memory. It was truly a thrilling experience: Surrounded by the most supportive family and friends anyone could hope for, in the stunning royal-blue Supper Club filled with people from a community I was just coming to know and love, I was being honored for my work as a cabaret performer by the trade paper in New York City—Back Stage—with a Bistro Award. The highlight for me came in having the opportunity to perform. I do not think I will ever forget the feeling I had standing on that stage, singing Rick Jensen's fabulous arrangement of Joni Mitchell's "Both Sides Now" for this amazing group of people, which included Julie Wilson, Margaret Whiting, and Barbara Cook (who took the time after my performance to tell me how much she had enjoyed it). It was a magical night for me, and I somehow doubt if another is likely to come along that could surpass it in my memory."
Steven Brinberg, 1999, Impersonation
Currently touring with Marvin Hamlisch, among other bookings.
"When I won it was one of those times I was touring, but I made sure I could come back and get it. It was great meeting all the other performers who were there. It was 1999—right smack dab in the middle of all the exciting things I was doing. So it was a good luck charm. It's held up beautifully—crystal clear. I remember the time I would put winning the award on every single flyer. It makes me ring a bell with people. The Bistro can only mean one thing. I think I got at least a job the night I won. I think I got one of those big events where the whole thing is set up as if they were really getting Barbra Streisand. One of those came directly out of that."
David Gurland, 2000, Recording, for "David Gurland" (also 1994, for Outstanding Vocalists, and 2001, for Special Material)
Recently completed a number of dates at Mama Rose's.
"The first time I won was in '94, and I had literally been on the scene not even a year. It was a big thing for me to be accepted into the community. Right away I was getting validation: 'You're on the right track.' It gave me notoriety. It made people pay attention to me. You still have to ride the subway like everybody else, but you have a sense of importance and validity. I've won three times and each one was for a different aspect of what I do. When I won for special material, as a writer that was a huge, huge compliment. Winning for my record was an acknowledgment of a lot of hard work. Any time you can get picked out of a sea of people, that's immensely important. Two of the awards are at my parents' house and one is at my apartment. Any unexpected developments? Yes. When I won for the record, I went and performed in a polo shirt and jeans. I received some flak for that. Some people said I was dressed inappropriately. People want you to play by certain rules. For the first time it wasn't 'You're so great.' At first it's 'Oh, he's really good.' You get embraced, but with that support you're under the microscope a little bit more. I was so surprised. I thought, 'I can't believe that you're making an issue about this.' "
Jim Caruso, 2001, Musical Comedy (also 1991, for Outstanding Vocal Groups, as a member of Wiseguys)
Currently emcee of Manhattan's "Cast Party" on Monday nights at Birdland.
"The fact is that anytime anybody is congratulated, honored, or patted on the back in show business, it is a welcome respite from the sometimes day-to-day begging and schlepping to make a living. I absolutely appreciate the thoughtfulness of Back Stage and the spirit of the Bistro Awards. The whole point of working as a performer is to get recognition. Cabaret allows that to happen. And being honored by respected critics with an award for your work is great. I, personally, was thrilled and delighted to be celebrated for my work. The Bistro Award was my first recognition in the cabaret world. It was a great feeling to get such acknowledgment and I believe it helped me on a personal and professional level in terms of exposure and taking me to the next level. The world of cabaret has opened many doors for me and I've tried to take advantage of those opportunities and use them to grow in a field that is changing every day. Cabaret is wonderful, but you have to look at the larger picture if you want to have a real moneymaking career."
Craig Rubano, 2002, Vocalist
Currently finishing an extended run at the Hideaway Room @ Helen's.
"It's an award from critics who get together and decide you deserve a piece of glass. It means something when you go around the country and they mention it. It takes longer for them to announce your name. It sounds good. Well, that's what awards are for. They encourage you. That's all they are—encouragement, a credit. This was really my first show in New York. It was especially meaningful to me because it meant that I should keep at it. So I've kept working at it. I'm looking at the plaque right now. It's on a shelf. I can see it from my couch. It's the one that stands out. I know that promoters do use the Bistro Award in all of their promotions. Everywhere I go, it's a credibility thing. It helps when people don't have any idea who you are—that you have this seal of approval, like the seal on toothpaste."
Lina Koutrakos, 2003, Director (also 1985, for Singers, Consistent Excellence, and 1988, for Female Vocalists)
Currently performing in rock venues, directing, and teaching cabaret.
"The Bistro still gives me a huge amount of credibility outside of New York. Everybody knows what Back Stage is. The MAC Awards didn't do it. People know Back Stage is a prime magazine. It still does help, and that floors me. When I won the first time, it was all so new to me, and the award definitely said I should keep doing what I'm doing. It was the first time anybody stamped me and said, 'You're good at this.' It feels great when you're validated like that. The director thing really and truly gave me work. It said that I was credible to people who could choose whomever they want. You can't audition directors really. It helps when a first-ever nod like that was from the Back Stage Bistros. Everybody in our community respects it so much. They've changed the look of the awards. One is on the coffee table with two candles. During a directorial session, clients see it. The other one—I have no idea where it is, but I was robbed years ago. So who knows? I still mention the Bistros in my bio and on my rock 'n' roll website."
Tom Andersen, 2004, Recording, for "Who Knows?" (also 1993, for Outstanding Vocalist; 1999, for Songwriter; and 2000, for Special Material)
While still an active performer in cabaret, Andersen has recently focused his attention on his songwriting. His songs have been recorded and sung by such artists as David Campbell, John Davidson, Baby Jane Dexter, and David Gurland.
"It's always an honor to be singled out by the press. I was especially excited about receiving a Bistro for my songwriting. When you write music, you go into your own world. It can be a little lonely, and it's so different from performing, where you're surrounded by an audience. And recording a pop-country album like 'Who Knows?' is yet another experience. It's just you, your engineer, and your musicians. You work on your songs over and over until you get them as perfect as you can. If you're any kind of artist, though, you want to keep growing and evolving. I appreciate the fact that Sherry Eaker and all the critics at Back Stage have always been so supportive. And the Bistros have honored my collaborators, like Tim Di Pasqua and Ian Herman. To be frank, I've never written or sung anything to win an award. But I'm grateful that I've been fortunate enough to receive four Bistros—and that they recognize the ever-changing aspects of me as a singer, songwriter, and a recording artist."
Maude Maggart, 2005, Ira Eaker Special Achievement Award "to a performer on the rise"
Opening a series of "Mondays With Maude" at the Oak Room at the Algonquin on March 7.
"I really love cabaret. There's nothing like it and I hope to continue to grow. This whole cabaret experience has been very rewarding. I have learned so much about the American popular songbook and it all fascinates me so. I'm hooked on doing the research for my shows. I love it. Mostly, I feel drawn to this style of music and perfectly at home singing the lyrics of the great songwriters. I feel that I'm well suited to cabaret performing. Plus, I really love the intimacy that you can only find within a small room. I perform this music differently, I think, because I relate to the songs. I could not sing songs that have no meaning to me. Andrea Marcovicci was the first cabaret performer I ever saw and, along with Michael Feinstein, remains my strongest influence. And my style vocals are right for a cabaret show. It's always interesting to learn what some people think cabaret is. I told a guy that I sing in cabarets and he asked me, "Do you wear lingerie?" So I hope the definition of cabaret gets clarified somehow! I look forward to what lies ahead and I'm happy that cabaret has welcomed me so warmly."
