By Andrew Poretz …
Following two nights of sometimes heavy material – the first honoring the music of Kurt Weill, followed by a tribute to the music and somewhat tragic life of Doris Day, the third night of the 34th Annual Cabaret Convention had a simple, uncomplicated premise: great songs that transcend time. Led by the glamorous KT Sullivan, a strong lineup of seasoned Convention performers and many newcomers presented these wonderful songs.
KT opened the evening, accompanying herself delicately on piano for “Hello Young Lovers.” Bryan Eng, currently in residence at Bemelman’s Bar at the Carlyle Hotel, accompanied himself for “Change Partners” (from Carefree) with an appealing, husky baritone. Making her Cabaret Convention debut, Lianne Marie Dobbs performed a showstopper of a number from her show, Why Can’t a Woman…?”, with Ron Abel at the piano. After reading from Michelle Obama’s autobiography, she knocked “You’re Gonna Hear From Me” (from Inside Daisy Clover) right out of the park.
Singer Ben Jones, whose rangy tenor voice can nail notes that any singer would envy, delivered an unusually rhythmic, over-the-top arrangement of “The Best is Yet to Come,” also with Ron Abel, with the addition of the great Sean Harkness on guitar. In stark contrast, Nicole Zuraitis (a frequent subject of my reviews) made her debut, accompanying herself on piano with a haunting ballad rendition of “If Ever I Would Leave You” from Camelot. Another newcomer, the tall, terribly handsome and silk-voiced Jonathan Karrant, sang a jazzy “No Moon at All,” with pianist Jon Weber, bassist Steve Doyle and drummer Ray Marchica all demonstrating great jazz chops.
Swedish import Olivia Stevens performed what could be described as an old-fashioned German theater song, “Ich weiß, es wird einmal ein Wunder gescheh’n”. (“I know a Miracle Will Happen One Day”), from the German film Die große Liebe, with James Followell on piano. Next up was the delightfully erudite Eric Yves Garcia, a youngish but timeless cabaret staple who would be equally compelling reading the phone book as he is a singer/pianist. The raconteur relayed a wonderfully poignant story before delivering the Sinatra hit “All the Way,” including rare lyrics never sung by Frank.
The very young but quite experienced jazz singer Anaïs Reno (another frequent subject of my reviews) appeared in a stunning blue gown. She sounded better than ever, singing the entirety of the Billie Holiday-associated “Lover Man” with no reference note, before the band kicked in. Sean Harkness delivered a spectacular guitar solo. Newly renamed Diva LaMarr made quite an entrance in a stunning red outfit and 8” heels, singing a campy but delicious “Broadway Baby.” Jon Weber accompanied her. (Diva’s partner, pianist Darnell White, was scheduled to play later in the show, but is currently playing for a hit Off-Broadway show and could not make it in time.) Big-voiced Convention regular Klea Blackhurst performed the obscure “Satan’s Li’l Lamb” from a (Harold Arlen/Johnny Mercer and Yip Harburg), a riotously funny number that makes great use of Blackhurst’s comedic and vocal gifts.
Blackhurst closed out the first half with an incredibly funny presentation of the Donald Smith Award to Billy Stritch. The humble Stritch treated the audience to his medley of all the songs from Singing in the Rain, calling out their original MGM films as he sang.
The dynamic redheaded powerhouse Carole J. Bufford opened the second half of the program with a boffo “Put the Blame on Mame” from Gilda. The very young “boy in the red suit,” Lincoln Johnson, accompanied by Jon Weber, made his Cabaret Convention debut with the Bread hit “If” with his beautiful and pure high-tenor voice. Weber also accompanied jazz chanteuse and pianist Alexis Cole, who injured her hand, for a swinging “Come Back to Me” from On a Clear Day You Can See Forever. They were joined by bassist David Finck and drummer Kenny Hassler.
Everyone’s favorite cabaret couple, singer/pianist Eric Comstock and singer Barbara Fasano celebrated 20 years of marriage with a trio of songs. Eric took “Mam’selle,” including the rare verse. Barbara sang the solo of “In the Still of the Night,” and the pair finished with a duet on “As Long as I Live.”
Young newcomer Lizzie Buller added a belated coda to the Kurt Weill opening night with “A Stranger Here Myself” (from A Touch of Venus), accompanied only by Jon Weber. She sings in a modern musical theater style, with good phrasing, and is funny. The tall, handsome and impeccably dressed Todd Murray told the surprising origin story of Hoagy Carmichael’s “Stardust,” before delivering the song in his rich baritone. Brazilian singer-songwriter Filo Sofia, who many in the audience will recognize as a server at Birdland, appeared there in The Lineup with Susie Mosher when KT Sullivan was present, and a Cabaret Convention debut was born. The shy, soft-voiced singer performed the bossa nova standard “A Day in the Life of a Fool” (Black Orpheus), delicately singing it in Portuguese, and more uptempo in English. Gary Williams, a marvelous British singer, performed “Isn’t This a Lovely Day,” from the Fred Astaire film Top Hat. His voice is like a richer-timbered Astaire, with Sinatra-like phrasing.
Josephine Sanges, Bistro Award winner for her Fanny Brice tribute show, in great voice, sang a powerful “My Man,” accompanied by her musical director, John Cook. Aisha de Haas closed out the Cabaret Convention with an excellent rendition of its “titular song,” as KT Sullivan introduced it, “As Time Goes By” from Casablanca.
This evening was a wonderful capper to the Cabaret Convention. Until next year!
Photos: Conor Weiss
The 34th Annual Cabaret Convention
As Time Goes By: Timeless Tunes
Host: KT Sullivan
Jazz at Lincoln Center’s Rose Theater
Fredrick P. Rose Hall
The Mabel Mercer Foundation
