Nov. 22: Lara Teeter: Lucky to Be Me: Gaslight Theater

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Lara Teeter

Lucky to Be Me

Saturday, November 22 at 8 pm

Gaslight Theater, St. Louis, MO

http://www.gaslightcabaretfestival.com/event.php?ID=171

Lara-Teeter-Lucky-to-Be-Me-Cabaret-Scenes-Magazine_212Here’s Chuck Lavazzi’s review of this show from April 2014:

Gotta sing! Gotta dance! Gotta be a cabaret star! The Presenters Dolan closed out the Gaslight Cabaret Festival with Lara Teeter tripping the light fantastic in his cabaret debut.  The show was high-energy entertainment from a veteran of the musical theater stage, both in the Big Apple and here in St.
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Louis, where Teeter has been a fixture at The Muny, St. Louis’s big outdoor theater, for over two decades, as well as head of the musical theater program at the Webster Conservatory for Theatre Arts since 2007.

As you might expect from someone with Teeter’s credentials, his show relied heavily on classic songs from musical theater and films.
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  He set the tone for the ensuing hour or so early on by using “Please Don’t Monkey with Broadway” (from the film Broadway Melody of 1940, where it was sung and danced by Fred Astaire and George Murphy) to comment on how the Great White Way had changed during his life from “a pornographic mess” in the late 1970s to the massive corporate billboard of today.  What followed was a high-level overview of his life and career, liberally illustrated with hits (and a few rarities) from the Great American Songbook.

So, for example, the title song from Rodgers and Hart’s On Your Toes was used to reminisce about his Tony-nominated performance in the 1982 revival of that show, while “Once Upon a Time” (from Charles Strouse and Lee Adams’s All American, where it was sung by one of Teeter’s heroes, Ray Bolger) became a reflection on how marriage and a family led to an unexpected career change.  “Life happens,” he observed, and then went on to reflect on the joys of marriage and parenthood with “I Married an Angel” (another Rodgers and Hart title song) and Maury Yeston’s lovely “New Words.”

Throughout it all, Teeter matched his charming stage persona with the physical grace that comes from his years as a song and dance man.  A bit where he paid homage to the dancers that influenced him—Dick Van Dyke, Ray Bolger, Gene Kelly, and others—with quick impressions of their characteristic moves, was typical of the way in which he worked his dance background into the warp and woof of the show without coming across as a simple showoff.

Musical Director and pianist Greg Schweizer provided arrangements that supported Teeter well, although some of them seemed to push his voice higher than was entirely comfortable for him.  They had great stage chemistry, as was apparent when they turned a fluffed lyric in “Let’s Do It (Let’s Fall in Love)”—which, to be fair, has an apparently bottomless well of words—into an opportunity for some good-natured byplay.
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  Director Tim Schall’s influence was apparent in the show’s sound structure and well–thought-out blocking.
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