The 26th Annual New York Cabaret Convention

A Sentimental Journey: World War II Songs

The Town Hall, NYC, October 14, 2015

Reviewed by Joel Benjamin for Cabaret Scenes

Photos by Maryann Lopinto

Hosted by Cabaret greats Jeff Harnar and Andrea Marcovicci, the second program of the New York Cabaret Convention, A Sentimental Journey: World War II Songs, had all the usual amenities of this brilliantly organized, revered cabaret institution: an array of first-rate cabaret stylists all dolled up in their best tuxes and gowns; beautiful arrangements played by first-rate musicians guided by Musical Director Alex Rybeck; award presentations to deserving artists; and, of course, a colorful theme.

Even for a period when everyone needed uplift, the songs were unusually dreamy, romantic and sad, with Jeff Harnar’s late-show rendition of “Bei Mir Bist du Schon” (Secunda/Jacobs/Cahn) the only really rousing number, which was followed by sweet-voiced Marissa Mulder’s nostalgic, perhaps too subtle “I’ll Be Seeing You” (Fain/Kahal) ending the show almost tearfully.

Danny Bacher’s choice of Johnny Mercer’s “G.I. Jive,” a jargon-filled commentary (MP, KP, the mess, bunk, etc.
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) on the bureaucracy of being a soldier, was right on the mark, his swinging style matching the period. Then the wonderful duo of Barbara Fasano and Eric Comstock provided a mini-concert of 1940s songs: “I Thought About You” (Van Heusen/Mercer); “But Beautiful” (Van Heusen/Burke); “Surrey with the Fringe Top” (Rodgers/Hammerstein); and even the tongue-in-cheek ditty, “She’s a Latin from Manhattan” (actually a thirties tune by Harry Warren, Al Dubin & Lee Robin), all displaying their well-known, easygoing mastery.

Celia Berk, who was presented with the Margaret Whiting Award, was properly sardonic in “They’re Either Too Young or Too Old” (Schwartz/Loesser). Debbi Whiting presented Celia with the award, which is underwritten by My Ideal Music.
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Todd Murray applied his powerful croon to “You’ll Never Know” (Warren/Gordon) after telling a moving story of experiencing a flight in a WWII-era B17 air transport.

The elegant Iris Williams, a contralto, gave “The Last Time I Saw Paris” (Kern/Hammerstein) a perceptive poignancy, clearly seeing all the lovely images in her mind. Fellow contralto Karen Akers picked a French song, “J’attendrai” (Jean Sablon), giving it her usual mellow, intelligent interpretation.

Julie Budd joined up with Natalie Douglas, after each had solos, to sing a good-natured “I’m Beginning to See the Light” (Ellington/George/Hodge/James), playing off each other’s totally different styles with zest and humor.

Former child actor Nicolas King has a rich baritone which he used to great effect in “A Nightingale Sang in Berkeley Square” (Manning Sherwood/Eric Maschwitz), while the charming Jennifer Sheehan actually danced a bit performing two songs associated with Rita Hayworth: “I’m Old-Fashioned” (Kern/Mercer) and “Long Ago and Far Away” (Kern/Gershwin).  It was a lovely moment.

Karen Kohler, with Sean Harkness on the guitar, provided a European vantage point singing a very dark version of “Lili Marlene” (Norbert Schultze/Hans Leip). She knows how to sing this kind of song, it was clear, but her strong anti-war sentiment was heavy going for such a light-hearted evening.

Of course, Miss Marcovicci was given the spotlight for a luscious, uncut warbling of “These Foolish Things” (Jack Strachey/Eric Maschwitz), savoring every little detail of this bittersweet tale of lost love.

Jeff Harnar received the Donald F. Smith Award, touchingly pressing his hand on Smith’s photograph on the plaque.

Sherrie Maricle on drums and Jered Egan on bass helped beef up the musical accompaniment.
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