Kane Alexander
THE OTHER BOY FROM OZThe Algonguin's Oak Room
Sunday, Nov. 2, 2003, 8:00pm
After almost a three year absence, it was wonderful to have Kane back on a New York stage, actually two stages, as he did an evening at Town Hall for the Cabaret Convention along with his two evenings at the Oak Room backed by the able hands of his musical director, Christopher Denny.
Kane has been honing his musical theatre skills in Australia with HAIR, FOOTLOOSE, ANYTHING GOES and THE MUSIC OF LERNER AND LOWE with the Australian Philharmonic for the last three years. This time spent in the theatre, showed in his confidence and his more theatrical approach to his singing at the Oak Room. But his selection of music was broad, including not only standards, such as "Where Or When", "I Got Rhythm" and crowd pleasing "Satan's Little Lamb", but a number of contemporary composers' songs, as Babbie Green's "The Best Thing To Happen To Me", John Bucchino's "That Smile" to the overly familiar Craig Carnelia's "Flight".
Kane was at his best when wearing his emotions on his sleeve as in his expressive reading of a Brenda Russell tune, "Get There" or the heartbreaking ballad, "Broken Vows" by Lara Fabian and Walter Afanasieff. He also created a two song musical with another heartbreaking ballad, Roy Orbison's "Crying" followed "These Foolish Things" creating a magical moment of theatrics in the Oak Room.
It will be interesting to hear his new pop influence CD which he will finish upon returning to Australia. "Crying" will be on it. Hopefully he use this intense theatrical approach on the pop songs.
Kane closed the show with what seems to be his signature closer, "Please Don't Talk About e When I'm Gone", although I don't know how that would be possible not to talk about him after such a delightful evening of song. He returned for an acappella version of "Amazing Grace" as his encore piece... yes, it was "amazing" as was the evening. It's a shame he had only two shows... much too short a run!!
MJN On Line
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Marnie Baumer
with Ted Firth and Ritt Henn
Don't Tell Mama's
October 02, 2002
Marnie uses a highly creative idea and forms a delightful cabaret show around it: A Tribute To Women in Animated Films. Mostly strong, sexy women make the cut, some villains, some heroines, all with great songs.
Often jazzy, in the sure hands of Ted Firth, as musical director and pianist, with Ritt Henn adds his touches on bass, Marnie creates her animated characters with great charm. From the slinky Betty Boop and Jessica Rabbit, through the tender heroines of Snow White, Cinderella and Mulan, right to the Disney villains of Cruella De Vil and Ursula, we see women who were often years ahead of their times, strong, proud, independent, and some times very wicked!
Looking great in a shimmering pink gown and sounding even better, Marnie, with the help of her director Erv Rable, has created a delightful world of animated songs. A minor point, with the high degree of less then familiar martial, from films like THE PRINCE OF EGYPT, JOSEPH KING OF DREAMS and MULAN, a bit more exposition would have been helpful.
Treat yourself to one of the better cabaret evenings you're likely to find. Marnie's show is currently running into November. October 9, 16 & 30 at 8:30pm, 23 at 10:00pm Nov 3 & 10 at 3:00pm - $12 cover + 2 drink min.
MJN On Line
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David Campbell
With Christopher Denny and Jered Egan
The Carlyle Cafe
Wednesday February 27. 2002
Quite a bit of excitement as John Ruggierro, Julie Reyburn and I settled into our seats just to the right of the stage with bass player, Jered Egan, next to us and musical director, Chris Denny, directly across the stage, facing us. Before the show we'd had a few words with Chris and were eagerly looking forward, along with cabaret favorites Craig Rubano and Jamie DeRoy who were also in the audience, to hear David's return to the New York scene.
Soon David was announced and he came bounding on to stage though the audience, in a satiny navy two-button suit with a fiery red shirt, his slightly spiked hair showing hints of blonde streaking. Minutes earlier, critic Barbara Siegel, there with husband Scott, hadbeen at our table wondering how it would look under the spot light...answer "fine"!
David opened with a spirited "Gypsy In My Soul" and immediately went to a Sondheim classic, "Old Friends", singing the first verse directly to me, and with a tip of his glass continued the song towards the rest of the audience. Yes it was an "old friend" up there and after all that's happened in the last two years, good and bad, there it was, again, the old Campbell magic back in town!
No jokes in this show but David's humor was always close to the surface as when he talked about another Australian import, PUPPETRY OF THE PENIS, "...I'm saving that for the late show" (hear that. Jay?) or pointing out the huge mirror which lay directly in front of the stage and how some vain performers would only play to that, forgetting the audience completely . He summed it up by calling his patter "the ramblings of a 28 year old brat."
Another classic BABES IN ARMS "Where Or When" was followed by "That Old Devil Moon" in which we were treated to some of the Denny piano magic one has come to expect from Mr Denny.
Using the introduction, "From SHOUT via Ethel (Merman)..." David sang, while playing guitar, a lovely ballad from David's recent Australia triumph SHOUT!, "Cry", originally associated with Ethel's THERE'S NO BUSINESS LIKE SHOW BUSINESS co-star, Johnnie Ray.
Next came what was my favorite part of the evening, three Australian pop songs and "Mr Bojangles". First came the Finn Brother's (OK, New Zelanders but ...close enough for New Yorkers, at least) folkish ballad "You Better Be Home Soon" with Chris and Jered providing beautiful harmony and accompaniment.
With underlying pain in his voice, David bought the John Farnham's hit "Comic Conversations" a strong sense dramatics and lead smoothly into a song of disillusionment, "What About Me", an old hit by Moving Pictures.
These three songs lead beautifully into a theatrical "Mr Bojangles", almost as much acted/spoken as sung. Slow and dramatic with a chance for Jered to show his fine ability to handle the bass. Definitely one of the audience pleaser of the evening and a fitting tribute to David's inspiration, Sammy Davis, Jr.
Another source of inspiration was Bobby Darin which lead to David's section of songs closely associated with his idol, starting with a smooth "Dream Lover" into a medley of ""Beyond the Sea", "Splish, Splash" with the wail and all, closing with "If I Were a Carpenter". And what tribute to Bobby would complete without "Mack the
Knife" which was another crowd pleaser!
Again taking up his guitar, David treated us to Michael Pemberton's "Art and Leasure" which David had become associated with during the SATURDAY NIGHT run when the cast assembled for their MONDAY NIGHT LIVE sessions on the stage at Second Stage. Hopefully this song, and maybe a couple of the Australian pop songs, will make it to David's new Sony CD.
David ended the show with two strong songs, John Bucchino's "Taking the Wheel", a Campbell classic, and Carol Hall's gospel flavored "Glory Of God", both showing off the pop strength of David's voice. And with a touch of humor, David use the huge mirror to fluff his hair, flashed a smile and bounded off stage.
Yes, to the cheers of the audience, he bounded back to do a "request" encore. A 'Mrs Robinson' type woman sitting at the bar yelled for "Wonderful World" (the Armstrong one) but after some slightly risqué banter, David choose another request, "Alexander's Ragtime Band" as his encore song. Maybe "Mrs Robinson" will return to hear "Wonderful World".
Quite a return to the New York Cabaret scene... great show, great musical director, great bass player and all at the glorious Carlyle Cafe. Not bad for a "a 28 year old brat" from Australia.
And yes, Barbara loved David's hair under the lights. And the Siegels who often do not care for contemporary pop songs loved the "Australian section".
Looking forward to taking my California friends, Renee &Molly, on Saturday March 9th and joining fellow listers, SF Sue, Cara and Ray for David's closing show on the 24th.
MJN On Line
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Hugh Jackman
& Audra McDonald
Carnegie Hall
Thursday, June 6, 2002
When I arranged my tickets though my Carnegie Hall connection, we'd talked about $104 box seats (this was what my friends and I had decided to spend, with the top price being $2000), so imagine my surprise to find myself being ushered to the third row! Good to have friends in "high places"! Thank you David Gurland!
It was thrilling to hear this marvelous score played by the 60 piece Orchestra Of St. Luke's. Even in its last Broadway revival, it did not sound this full and richly textured. Add the 40 members of the Concert Chorale of New York and it was a glorious evening most of us will never hear again.
The casting was superb. It was touching to see the silver-haired John Raitt walk on stage, still virile and extremely handsome, even at 80, to read the opening lines of the play. Both Blythe Danner and Philip Bosco added star power to their non-singing roles. Norbert Leo Butz, fresh from Jason Robert Brown's THE LAST FIVE YEARS (Off-Broadway) and his Tony nominated role in the mega-flop THOU SHALT NOT (Broadway) gave an edgy performance as Jigger with Judy Kaye, currently starring in MAMA MIA and also Tony nominated as Nettie Fowler, adding her usual flare to her role. Lauren Ward, recently in the Off-Broadway production of Sondheim's SATURDAY NIGHT, was a near perfect sounding Carrie Pipperidge.
However the real treat, besides the incredible sounding music, was the chemistry between the two leads! Audra McDonald repeated her Tony winning performance as Julie Jordan. And this perfection of voice and acting was balanced by the smoldering Hugh Jackman as Billy Bigelow. Sparks fell as they embraced and kissed. This was a special treat to New Yorkers who had been deprived of his sizzling presence in OKLAHOMA this last season. It also gave us even greater reason to look forward to THE BOY FROM OZ and a chance to hear more of this wonderful singing talent from "down-under"!
Because this was a concert piece, the book was truncated. It was an evening about the music so some of the story was lost but even with that as a small complaint, the show still ran two and a half hours and was a pure musical delight.
Another touching moment at the very end of the evening occurred when Hugh Jackman gave Mr. Raitt a warm embrace as they were leaving the stage after the final bows... tender and touching way to end such a singular evening.
MJN On Line
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Peter Davenport
The Triad
Wednesday, July 24, 2002
I saw Peter Davenport's show at The Triad tonight, celebrating his new CD, CLEAR DAY, on the LML label, and thought I'd suggest checking out this talented singer/songwriter as he has one more show, tomorrow (Thursday, July 25th) at 10:00pm and a couple of guest spots in LML's founder, Lee Lessack's upcoming shows at Judy's Chelsea in August.
With a extremely personable manner and a very pleasant voice plus his easy good looks, he's well worth staying up late to hear (and see). With Christopher Marlowe and four other strong musicians behind him, he brought a Latin-jazz flavor to many of his songs along with a strong pop sound to others. High points included a stunning Kander & Ebb song from the underrated STEEL PIER, "First You Dream", an intense pop ballad, "Born For You", a brooding self-penned ballad, " I Need You" and his encore song, James Taylor's moving "Secret Of Life".
As his web site requires "flash", I was not able to open any of it with my WebTV but based on comments made by friends of Peter's I sat next to, he hasn't sung in public in a while and held back vocally. If this is the case, I'd love to hear him when he's not holding back.
Try to catch him, I doubt you'll be disappointed as this is a very entertaining evening!
MJN On Line
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Jack Donahue
Cabaret 1050
Feburary, 2001
Jack Donahue gave his fans a perfect Valentine's Day present with his show at Cabaret 1050, The show was a perfect balance between the traditional heart-felt songs one would expect for Valentine's Day and a light-heartiness which kept the evening from becoming morose.
And what a group of "friends", Jack assembled to celebrate, Julie Nemitz, Diane D'Angelo, D.C. Anderson & Ritt Henn, Jeff Macauley, Pat Gorman, Joanna Parsons, William Baldwin Young, Jono Mainelli, Young, Julian Brightman and Michael Vaccaro. Each performer did a song with Jack acting as host and also adding his voice to the mix.
The tone was set by Michael Vaccaro opening song about a "heart-on" while impersonating Jack. The rest of the evening was spilt between the softer ballads which Bill, Julie, Pat, Jono, Jeff and Diane did so well and the slightly outrageous, as Julian, Joanna, Michael or DC and Ritt duet.
And the audience was filled with friends and fellow cabaret singers, Julie Reyburn, Carolyn Montgomery, Audrey Lavine, Deian McBryde, Laurie Krause, Phillip Officer, Kane Alexander (recently arrived and starting a Firebird run), Michelle Russell, John Jerome and more, with Parker Scott arriving towards evening's end.. What was best was the undercurrent of affection though out the room.
Michael Vaccaro opened as Jack Donahue, in a delightful send-up of our gracious host and sang a perfect Valentine song about a "Heart-On", playing with the audience.
Jack, sporting an Hawaiian shirt, announced the evening as gathering of "fun-loving, quirky friends" and this is exactly what the evening was, a quirky evening loaded with talented singers, all enjoying the loose structure of Jack's show.
On the ballad-side, William Baldwin Young (WBY) sang "Some Enchanted Evening" after his hilarious take on the Eve Arden Syndrome (EAS)... known as everyone's best friend who NEVER got the man and the grey ribbon to "signify the drab, meaninglessness of life", Julie's beautifully sung "I Gaze In Your Eyes", Pat's "That Fabulous Face, dedicated ti Jack, Jeff's "Last Night When We Were Young", Jono's (also acting as a brilliant musical accompanist) "Sail Away" and Diane
singing her favorite Broadway song, "Till There Was You".
Keeping things light, were besides Michael's opening song, Julian's "Across 9th Avenue", Joanna's song about boyfriend stalking and DC & Ritt's hilarious duet, "Change Stinks".
Jack, of course, made several appearances during the evening, first in his Hawaiian shirt, singing about "Sara Lee' and later, after a change of clothes, telling a story of starting The National Anthem in a key too high and ending up sounding like Whitney Houston, sang a deeply felt, acappella "Beware My Foolish Heart" followed by a heartbreaking medley of Sondheim's "Good Thing Going" and "Autumn"
To bring the evening to a close, Jack, after acknowledging me as the reason this show happening ("I didn't really feel I had a choice." after I asked him for it) and Irv's responsibility for the last song of the evening, sang an acappella version of "My Funny Valentine" that took one's breath away. Thank you Jack for being so generous to your friends and to your fans!
MJN On Line
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NATALIE DOUGLAS
with Mark Hartman
Saturday 11:00pm January 20, 2001
From the opening number, with Ms Douglas singing "Everybody Get To Go To the Moon" to the double encore, the audience knew they where not only getting the moon but the stars as well. Whether singing a soft sensual ballad or a raucous uptempo ditty, this singer understands how to sing a lyric and how to tell a story.
With the soft strains of Mark Hartman's piano, she brought a pleading quality to "I Thought About You" and sitting, looking like a relaxed Mabel Mercer, she brought a sensual quality to "Bewitched, Bothered and Bewildered". That same slow, sexy edge continued with "If I Can't Sell It" but at the same time, she had a smile in her voice.
She brought real pain to Peter Allen's "Only Wounded" and Karla Bonoff's "Never Stop Her Heart", yet she could be hot and on fire, as seen in "Joint Is Really Jumpin' Down At Carnegie Hall' or her signature song, "Satan's Li'l Lamb", Mark Hartman's amazing playing adding another dimension to the songs.
She also had a tremendous sense of humor, with statements like "I try to laugh, because I've been told it's wrong to kill people" when talking about some of the stupid assumptions people make about her... hence, "Sorry, the wrong Black girl". Or her observation of the shock Jerry Farewell would experience when he dies and get to heaven to find "God is a Black Lesbian".
After the audience sang "Happy Birthday" to her and Jim Palone brought out a creme burlee with a candle glowing, Natalie gave us two encores and left stage, only after sing the extremely moving title cut from her CD, "Not That Different". (Highly recommended)
MJN On Line
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Lee Elliot
with Tracy Stark and David Timmons
Don't Tell Mama's
October, 2002
And "finding what works" is just what Lee does in this, his first solo show in two years. Lee, with David Timmons on electric guitar and musical director, Tracy Stark, on piano, presents a cabaret evening with a decided "pop" sound. Refreshing and well sung, this is part of a "new generation" of music now available in New York's
cabaret rooms.
Whether delivering a pop ballad, such as "Fair Thee Well" or the set's opening song "Superman", a pop/country flavored "Moment of Forgiveness", right through the more blusey rockers like "The Rescue Blues" and David Bowie's "Star", Lee's strong, interesting voice delivers... as promised.
"Leave a Little Something" by Lee's director, the newly svelte Lena Koutrakos, is another stand-out number. And the encore song "Promises Made" was a promise kept!!
Lee has two more evenings at Mama's, October 9 & 16 at 7:30pm, $12 cover and 2 drink min. Don't miss him!!
MJN On Line
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DAVID FRIEDMAN
The Firebird Cafe
July 30, 2000
For the last ten years, there's been a composer who has given voice to the highest highs and the lowest lows in my life. For each moment there has been a perfect song to capture the pain, the loneliness or the joy of the moment and still keep an underling optimism. His name is David Friedman. I was lucky enough to discover him through Nancy LaMott, Bill McKinley and Laurie Beechman in the very early 90's. Through life's threating illness, head-over-heels love and losses of friends and lovers, David's music was there in my life, keeping my soul afloat.
Tonight I was privileged to be able to hear him sing his own songs and talk about what they have meant to him and how he has come to understand them over the years, summed up beautifully in his opening number, As Long As I Can Sing. Everything was done with touching humor, from thinking of titling the show, "DAVID FRIEDMAN - TERRIFIED" to talking about working in the "trashy night club idiom". Even as he talked about his mother's recent death, he used a touch of humor to
deflect the deep sorrow this must cause and then dedicated We Can Be Kind to his Mother's memory.
He spoke from the heart and of his love for both the songs and the wonderful singers who gave them voice. How Nancy La Mott sang Listen To My Heart at St John's for the first time and how she dropped the "but" in We Live On Borrowed Time and how it was later dubbed into the "live" recording. He spoke candidly about how paralyzed he was after Nancy's death and how finally the strongly optimistic Trust The Wind came rushing out of his heart.
There were many new songs, such as a musicalization of Rudyard Kipling's IF written during "flighting moments of depression", the moving Only My Pillow Knows with lyric by Kathie Lee Gifford (going a long way to improve her "image") and there was KING ISLAND CHRISTMAS' The Gift Of Trouble, which tells the listener to look for strength and meaning from even the worst events in one's life. Again an underling sense of optimism, even at life's worst moments, is present. Songs like
We Live On Borrowed Time, Listen To My Heart and Help Is On the Way brought back all the pain, the tears and finally, the comfort that old friends provide. Here is a man who has let his heart give voice to fear. loneliness, heartache and finally optimism, that something good comes after the hurt and pain. As David said "There's someone who can get you through anything, ... and that's you". And thank
you, David, for providing the music to help each of us find the courage and strength to help ourselves.
MJN On Line
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David Gurland
(Something New For David Gurland)
Don't Tell Mama's
February 13, 2002 9:00pm
Until recently, I went to a show based almost solely on who was performing. THE GURLEY SHOW with David Gurland would have been one of those shows. Recently I realized, I've also started to look at who is the musical director. Michael Holland has recently to join a small list of musical directors who's shows I will see even if I am not familiar with the singer. Ross Patterson, Chris Denny, Rick Jensen, Lena Koutrakos, Mark Janas and Mark Hartman are among those who's visions I've come to trust.
So imagine the pleasure realizing Michael was musical director for THE GURLEY SHOW. Add Karen Mack doing harmony and backup vocals, with Ted Stafford on bass and backup vocals and Jerry Smith on drums and backup vocals and it went on my list "to see".
Before the show, Scott and Barbara Siegel commented on the lack of familiar songs in the set. Glancing at the song list, I recognized less then a third of the songs and maybe slightly over half of the songwriters. By evening's end, I realized I had expanded my musical repertory nicely and heard some of the best vocal harmony in New York. This was a fresh evening of contemporary song sung with great feeling by David Gurland and his talented backup talents.
No where was the harmony stronger then on "Whenever I Call You Friend" (Kenny Loggins/Melissa Manchester) with all five voices joining in beautiful vocalization to the amazement and pleasure of the audience. "Sing for the Lonely/Boys of Summer" (Don Henley/Robbie Williams) also joined David's strong voice with those of Michael's and Karen's.
Another magical moment occurred when David sat on the small round front table and sang a plaintive ballad, "No One Knows But You" (from Beth Nielsen Chapman's Sand And Water CD). David turned his face away from us, looking downward but by his choice of placement remained very connected to the audience.
In a Toad the Wet Sprocket song, "Dam Would Break. probably never heard at Don't Tell Mama's, David conjured a potent image with lyrics like "ice around my heart". It's interesting to hear contemporary pop songs which can create deep feelings. Some of these songs, in the right hands, can be as moving as the typical cabaret standard.
Many of these unfamiliar songs can and will yield a wealth of images and emotions upon repeat listening, so it's right that there are performers who are expanding the types of songs we hear in New York's cabaret rooms.
Also, having Michael Holland as one's musical director, gives access to some great material. David has a fun time with Michael's "Surrender Dorothy" (from Michael's "Thank You For the Afghan" CD) and in it's cabaret debut and only it's second public performance, "Stowaway" with it's sea/ship images. This song get stronger each time I hear it and will, hopefully, be found on Michael's upcoming CD.
David used his fellow musicians to great advantage, sometimes filling the stage with sound and other times, using only Michael on piano or guitar, kept it intimate and personal.
THE GURLEY SHOW has two more performances, Tuesday February 19th and February 26th. Both shows are at 9:00pm in the backroom at Don't Tell Mama's (212.757.0788) and Michael and Karen's 70's delight GASHOLE is playing every Thursday in February at 9:00pm, in the Village at Rose's Turn (212.366.5438). And Karen's new CD should also be available very soon.
MJN On Line
"A good song is like a really strong double espresso...a slice of life ground really fine, under a lot of pressure...with a little bit of steam."
~Amanda McBroom~
