Variety is the spice of life (and cabaret) and there's no better evidence of that than theme shows. Currently, you can find everything from turn-of-the-century revue songs to the tragedies of Sept. 11, from the magical music of Richard Rodgers to Judy Garland's salutary effect upon a gay teen.
In "Scandals and Follies," her fun new show at the Oak Room at The Algonquin (through March 30), soprano KT Sullivan and her musical partner, Larry Woodard, have based a whole show on the Lee Davis book of the same title—an ambitious, albeit risky, project. Sullivan, looking stunning as a Gibson Girl in a black velvet gown with glittery boa, captures the essence of frivolity and frolic that once permeated Broadway revues, offering a seemingly endless flow of banter and songs. The opening medley alone consists of 29 songs!
With shimmering vocals married to the comedic flair of Mae West, Sullivan explores the giddy side of many once illustrious and now obscure femme fatales in this 75-minute show. She captures Fanny Brice's brassy campiness with "He Hasn't a Thing Except Me" (from Ira Gershwin and Vernon Duke's "Ziegfeld Follies of 1936"), and she is poignant on the 1917 "The Land Where the Good Songs Go" (Wodehouse/Kern), in medley with Woodard's heartfelt, lived-in baritone counterpoint of 1908's "Shine On Harvest Moon" (Norworth/Bayes).
You've probably never heard of songs like 1920's "Tum On and Tiss Me" (Jackson/Gershwin), or 1919's "You Can't Make Your Shimmy Shake on Tea" (Berlin). But once you hear Sullivan and Woodard's whimsical renditions, you'll wish you could turn back Time.
Occasionally, some moments are blurred by repartee that, though often riotous, can be a bit long-winded. This raises the old question: How much information should be packed into one show (or one sentence)? Minor quibbles aside, Sullivan captivatingly recalls a lost era in "Scandals and Follies," nicely complemented by Woodard's superb arrangements.
Equally captivating—for dramatically different reasons—is the new, decidedly nonfrivolous cabaret revue, "September 11, 2001—The Musical Response." Conceived, directed, and narrated by Erv Raible, it channels into song the pain, patriotism, and heroic optimism that have emerged since that fateful day. The revue incorporates material by respected contemporary songwriters juxtaposed with the prose of astute journalists. Some of the composers represented include: Ann Hampton Callaway, Tom Chapin, David Friedman, Carol Hall, Christine Lavin, John Meyer, Shelley Markham, Phil Springer, and, surprisingly, CBS' Charles Osgood, who has set the Pledge of Allegiance to music. The multitalented cast consists of Marnie Baumer, Tony Chiroldes, A.J. Irvin, and Pam Tate.
It is a delicate undertaking to mount a musical about a tragedy that remains such a raw part of our daily lives. In "September 11, 2001," the most mesmerizing section features a compelling quartet of songs: Eric Hansen's "Hero in the Dark," Gilles Chiasson and Chris Roberts' "Hands Holding Hands," Tom Paxton's "The Bravest," and Phil Springer and Joan Javits' "Flight 93." The cast members give their all as they dramatically relive and recreate the sights and sounds of that day through the eyes of firefighters, airline passengers, and other observers.
Not everything in the show is that intense. The most controversial song, "Here Come Da Taliban," is an irreverent spoof written by Rick Crom and performed by Chiroldes and Irvin replete with ratty looking beards and oversized turbans. In this comic ditty, they skewer everything sacred and non-sacred about the Taliban terrorists—they wear their laundry on their heads, etc. Yes, it borders on the offensive, but it's not that much worse than the jokes on "The Tonight Show" or David Letterman. As Mark Waldrop wrote in "When Pigs Fly," "In times like these, laughing matters."
That said, "September 11, 2001" is simply too long. The show includes many generic anthems about courage, liberty, freedom, and America; after a while, the well-meaning sentiments and songs suffer from a sameness. With judicious cutting, it could be even more effective. The show runs at Danny's Skylight Room on Mondays through May 20.
In their tribute to Richard Rodgers' centenary at Judy's Chelsea, the venerable team of Judy Kreston and David Lahm is offering a delightful example of a theme show that knows how to be both informative and entertaining. It's called "Medleyfin," and it's playing Saturdays through May. Throughout the act, Rodgers' songs are paired up with those of other composers in imaginative ways.
Among the highlights, Kreston shines on a warmly delivered reading of "Why Can't I?" (lyric by Lorenz Hart) in medley with the Mary Rodgers/Martin Charnin "Hey, Love." And there is a stellar coupling of "A Cockeyed Optimist" with "Tomorrow."
David Lahm remains one of cabaret's most gifted jazz-tinged arrangers. This Rodgers' tribute is one of the sweetest sounds in a year bound to overdose on tributes to a legendary composer.
More diversity: "Judy and Me" is a compelling new gay play by Charles Tolliver running through April on assorted dates at Upstairs at Rose's Turn. Starring handsome Baltimore Russell, who turns in a bravura performance as Tony, a gay Long Island teen dealing with his father's insidious abuse and the badgering of homophobic peers, the autobiographical play is a benign coming-of-age tale. The multitalented cast includes Noelle Pasatieri, Katherine Falcone, Ron Gordon, Daniel Koenig, Pam Arnold, Nathan Cline, and Peter Mac (as Judy Garland).
Tony's fantasy conversations with Garland release his demons and proffer solace for his anguish. Garland serves as a metaphor for the problem-free life he covets, and Peter Mac deftly offers comic relief in the role. However, the onstage presence of his character is distracting; an offstage voice would work better. Falcone is particularly effective as Tony's mother, Pasatieri is totally endearing as his best friend, and Nathan Cline is memorable as a love interest.
While tightening would be helpful, and some of the writing is pedestrian, the play is remarkable for its endearing, homespun humor and pathos. This is a warmhearted, compelling outing with human issues that has legs.
Special Announcement: Arci's Place, the popular cabaret-restaurant that has presented a bevy of top-notch performers—including Kaye Ballard, Baby Jane Dexter, Christine Ebersole, Sam Harris, Donna McKechnie, Karen Mason, Tom Postilio, Wesla Whitfield, and Tom Wopat—closed last Friday after rent negotiations fell apart. As a result, Melba Moore, Loni Ackerman, Jana Robbins, and Donna McKechnie, all of whom were scheduled to perform there this month, were canceled. Arci's is working on acquiring a venue in the theatre district and hopes to reopen in July or August.