Broadway by the Year: Broadway Musicals of the 1960s

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Broadway by the Year

Broadway Musicals of the 1960s

The Town Hall, NYC, May 23, 2016

Review by Marilyn Lester for Cabaret Scenes

Photo: Genevieve Rafter Keddy
Photo: Genevieve Rafter Keddy

Broadway by the Year has yielded lately to Broadway by the decade, with this edition dedicated to that wild ride known as the 1960s. Unlike March, which comes in like a lion and goes out like a lamb, the 1960s entered gently and exited with a roar.

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To illustrate, series creator, writer and host Scott Siegel showed the way in song and narrative, delivered with his usual informative, witty and entertaining style. One fact about the 1960s, for example, is that it was the last decade to reliably produce hit singles from Broadway shows.

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One such song is “Once Upon a Time” (from All American), a beautiful ballad hauntingly sung by BBTY debut artist Cooper Grodin. When he appeared later to sing “The Rain Song” (from 110 in the Shade), he was in carny character, and different again, with a searing rendition of “Molasses to Rum” (from 1776).

Audience favorite Christina Bianco, with her own big voice, sang “Before the Parade Passes By (from Hello, Dolly!) and, with ease, the vocally demanding “I’m the Greatest Star” (from Funny Girl). To answer the question, what would the eponymous “Cabaret” sound like if sung by Streisand, Chenoweth, Garland, Dion and others, Bianco, fully animated, delighted the audience with her spot-on impersonations. Big voices were prominent on the cast’s distaff side, with Jeannette Bayardelle singing “Aquarius” (from Hair) and a jazz-blues arrangement of “On a Clear Day You Can See Forever” from the show of the same name. Also from Clear Day, the diva with a classic Broadway belt voice, Kerry O’Malley, easily handled “What Did I Have That I Don’t Have?” and aced the exacting “Mount Everest of songs,” “Don’t Rain on My Parade” (from Funny Girl).

This edition of Broadway by the Year was not without its gentility. Christiane Noll, with her operatic soprano, sweetly sang “One Boy” (from Bye Bye Birdie). If she sounded a little strained on “Fireworks” (from Do Re Mi), she was back in form for a controlled rendition of “Where Am I Going?” (from Sweet Charity). Popular performer Scott Coulter (pictured) easily demonstrated why he’s so loved: his sweetness and affability just shine forth. He has a great rapport with an audience, plus impeccable phrasing, which he applied to “I’ve Got to Be Me” (from Golden Rainbow) and “Make Someone Happy” (from Do Re Mi). With the entire cast, Coulter ended the splendid evening with a rocking “The Flesh Failures”/”Let the Sunshine In” (from Hair), a portend of things to come for Broadway. Musical direction and piano were by Ross Patterson, with Tom Hubbard on bass guitar and upright bass, and Eric Halvorson on drums.

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.