By Andrew Poretz . . .
The “Boy from Oz,” the late, great entertainer Peter Allen, was many things: a song-and-dance man, sure; a composer of pop hits, absolutely. Allen was also the sensitive soul who composed beautiful, timeless songs covered by some of the best in the business. One such performer is Clint Holmes, who honors Allen’s legacy with Between the Moon and New York City in a four-night residency at 54 Below. Holmes and Allen knew one another since Holmes, briefly a local talk show host in New York, interviewed Allen.
The show had its germination in a 2022 conversation between Mr. Holmes and pianist/musical director Michael Orland of American Idol fame. The two brought in the brilliant young show director Will Nunziata to shape the show from a mere great concert with patter to a compelling musical story, along with producer Sunny Sessa. This writer saw an early iteration of the show in 2022. (My review of a previous Clint Holmes show from 2021 can be found HERE.] It was already a winner then. The piece has since fully evolved into one of the best cabaret shows out there.
Mr. Holmes made a sotto voce dramatic entrance with the lights down, nearly in silhouette, singing a medley of the autobiographical “The Lives of Me” and “Not the Boy Next Door.” (Except where noted, the songs were written in whole or in part by Peter Allen.) This pairing perfectly prepared the audience for a show that proved as satisfying emotionally as musically. Mr. Holmes is a dynamic and physical performer with a still-golden voice at 77. The star was accompanied by Mr. Orland and an excellent lineup of John Isley on reeds, bassist Aaron Romero, and percussionist Jakubu Griffin. Mr. Isley’s sax and flute contributions were particularly notable.
Mr. Holmes’ delivery of “Don’t Cry Out Loud” (lyrics by Carole Bayer Sager) brought a new poignancy to this 70s pop hit. This was one of several instances in this performance in which Mr. Holmes brought the meaning and depth of a top radio record into sharp focus. Mr. Orland’s excellent arrangement took the song on a slow build from its rubato opening to a powerful conclusion.
The star noted that both he and Allen had huge hits with songs they had not written. Mr. Holmes led the audience into a singalong of his hit, “Playground in my Mind” (Paul Vance/Lee Pockriss), which, he was recently advised, reached No. 2 fifty years ago this week. Buoyed by the response, he declared, “If I had another hit, I’d do it now!” Instead, he sang “The More I See You (Harry Warren/Mack Gordon), a surprise hit for Peter Allen.
Mr. Holmes described Allen as a “true New Yorker” who wrote great “atmospheric songs about the city,” as evidenced by the picturesque “Six-Thirty Sunday Morning.”
Broadway star Nikki Renée Daniels (Company) joined Mr. Holmes for two sensational duets. In a three-song medley that included the show’s title drop (from “Arthur’s Theme”), the pair serenaded each other with “I Honestly Love You” (lyrics by Carol Bayer Sager). The pair has wonderful musical chemistry. Their commitment to the scene dramatically elevated the Olivia Newton-John pop ballad to a glorious declaration of love. (Mr. Holmes was so believable that you’d be forgiven for thinking they were a couple before his wife, the vivacious Kelly Clinton-Holmes, joined him after the second duet.)
On “You and Me” (lyrics by Carole Bayer Sager), Mr. Holmes and Ms. Daniels acted the song entirely with music, complete with staging not unlike a Broadway musical number. This was a great choice by Mr. Nunziata.
Mr. Holmes took the energy way up with the lively “I Go to Rio,” during which Mr. Holmes’ dazzling wife danced onto the stage dressed in a red, sparkly form-fitting pants outfit that flaunted her fabulous figure.
The final stretch of the show proved most introspective and emotional. A pair of very personal, autobiographical songs gave a rare glimpse into Allen’s innermost feelings. Allen’s “1944” referenced the year of his birth, and was apparently a personal song for Mr. Holmes as well, with 1944 being the year his parents met at a USO show. “Tenterfield Saddler” is a sensitive and evocative story song about his grandfather, George Woolnough. (Allen was born Peter Woolnough.)
More “pass the tissues” moments came in the form of a song that demanded some dignity for a singer who may have been singing her swan song but still deserved the respect of listening. Peter Allen, once married to Liza Minnelli, wrote in memory of his iconic mother-in-law, the legendary Judy Garland. Allen came up with the title, however, when he experienced a noisy member of the audience chattering while the great Julie Wilson was giving her all. He passed a note to the disruptive table that said, “Quiet, please, there’s a lady on stage!”
“Once Before I Go” was profoundly personal and touching. Mr. Holmes sang with great delicacy to convey the emotional depth of Allen’s lyrics, a confessional of a man who’d do it all again, mistakes and all, and with no regrets. Still, “it’s so hard to say goodbye.” Pass those tissues, please!
The star closed with a rousing closing number, another hit by Allen and Sager, “Everything Old is New Again,” with the audience happily singing along.
Clint Holmes: Between the Moon and New York City opened on June 1 and runs thru June 3 at 54 Below (254 West 54th Street between Eighth Avenue and Broadway). There are three additional performances. For tickets, visit www.54below.org.
Photos: Andrew Poretz except where indicated
