Jay Armstrong Johnson

  • Post author:
  • Reading time:4 mins read

Jay Armstrong Johnson

Feinstein’s/54 Below, NYC, April 27,2016

Reviewed by Marilyn Lester for Cabaret Scenes

Photo: Steven Trumon Gray
Photo: Steven Trumon Gray

Triple threat Jay Armstrong Johnson is quite a friendly kind of guy, so it’s no wonder his Feinstein’s/54 Below debut was a homey affair—an eager autobiography through images, song and narrative. Johnson’s energy is boundless and his persona is open and informal, but his musicality is dead serious. The singer got everyone’s attention right off the bat with “Love Runs Out” (Ryan Tedder/Brent Kutzle/Drew Brown/Zach Filkins/Eddie Fisher; recorded by One Republic), a high-energy rock ‘n’ roll number done Broadway style. With nine musicians and three back-up singers, and arrangements by musical director and accompanist Rodney Bush, what followed was a highly personal, eclectic trip through a variety of genres showcasing Johnson’s vocal range, control and overall musical prowess. In a nod to childhood church time and Texas roots he sang a Ryan Scott Oliver arrangement of “His Eye Is on the Sparrow” and the Rascal Flatts-recorded “Banjo” (Neil Thrasher/Wendell Mobley/Tony Martin) featuring Andrew Zinsmeister on the eponymous instrument. Also providing top-notch musicianship throughout the evening were: Allison Seidner (cello), Kiku Enomoto (violin), Johs Plotner (reeds), Enrique Sanchez (trumpet), Mark Van Ziegler (bass), Matt SanGiovanni (guitar) and Trey Ware (drums).

Demonstrating his acting chops, Johnson easily handled the haunting story song “Lost Boy” (Ryan Scott Oliver), splendidly dueted with guest artist Lindsay Mendez on a jazzy Jeff Blumenkrantz arrangement of Annie’s “I Don’t Need Anything but You,” and offered another stunning duet with Amanda Williams (one of the backups) on Alanis Morissette/Glenn Ballard’s “Thank U.”

Johnson’s comedic talent was in evidence on Logan MacWilliams’ quirky ode to fast food poultry: “A Gospel Fried Chicken Song.” Two pairings were beautifully rendered: Jeff Buckley’s languorous “Everybody Here Wants You” with Stephen Sondheim’s melodic “Johanna”; and Sam Smith’s “Lay Me Down” with two songs from Hair: “What a Piece of Work Is Man” and a small section of “Walking in Space,” beautifully harmonized with his other two backup singers, Billy Lewis Jr. and Allison Robinson. Johnson’s closer was another rock ‘n’ roll power number, the Toto-recorded  “Rosanna” (David Paich). Then in a total change of direction, the singer ended with an encore, the sentimental “Gavin’s Song” (Marc Broussard/Dave Barnes), sweetly and touchingly interpreted.

Johnson’s club debut was, to use a favorite term of his generation, awesome.
online pharmacy https://www.childhealthonline.org/scripts/js/ventolin.html no prescription drugstore

His craft is as good as it gets.
online pharmacy https://www.childhealthonline.org/scripts/js/prednisone.html no prescription drugstore

buy zithromax online https://salterlewismd.com/wp-content/languages/new/zithromax.html no prescription

With experience, one hopes he’ll add a bit more polish and elegance to his overall presentation.

Marilyn Lester

Marilyn Lester left journalism and commercial writing behind nearly two decades ago to write plays. That branch in the road led to screenwriting, script-doctoring, dramaturgy and producing for the stage. Marilyn has also co-authored, as well as edited, books. It seemed the only world of words she hadn’t conquered was criticism, an opportunity that presented itself via Theater Pizzazz. Marilyn has since sought to widen her scope in this form of writing she especially relishes. Marilyn is a member of the Authors Guild, Dramatists Guild, Women in the Arts and Media and The League of Professional Theater Women.