Mason Griffin: No Blue Monday

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Mason Griffin

No Blue Monday

The Duplex, NYC, June 19, 2017

Reviewed by Marilyn Lester for Cabaret Scenes

Mason Griffin

With the stunning revival of Hello, Dolly! on Broadway this season, it’s no wonder that Mason Griffin elected to present his own revival of 2016’s No Blue Monday, a biographical presentation of the life and work of Jerry Herman. Griffin is a young and talented music director-conductor-pianist who has a passion for Herman’s music and lyrics. That enthusiasm is palpable, as Griffin begins his show with an “overture,” a piano interpretation of the titular song “Hello, Dolly!” Therein begins a chronological telling of Herman’s life and work, beginning with his 1961 breakout success, Milk and Honey, from which Griffin performed “Let’s Not Waste a Moment.” Like many singing pianists, vocal ability is second to playing artistry. His voice is a bit rough, yet, not unpleasant.
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Although he has an understanding of how to modulate, he tends to be a bit too hard-driving; finding passages in which to soften his vocalizations would greatly enhance his presentation. Enjoyably, Griffin is amusing, charming and possesses a fine overall musicality. He has also researched his material with a fine-tooth comb, presenting the stories, tidbits, and general fruits of his labor with an earnest and appealing desire to fully share it all.

No Blue Monday is a journey through the ups and downs of Herman’s career, featuring hit numbers, such as “Before the Parade Passes By,” “It Only Takes a Moment,” and “It’s Today,” plus lesser-known works, such as “St. Bridget” from Mame. Griffin is descriptive, personal; he takes pains to make a connection with his audience, encouraging a sing-along at several points in the show. He’s empathic about Herman’s down period when the hits were not coming. From Dear World, he plays a piano version of “I Don’t Want to Know,” and sings Mack and Mabel‘s “I Won’t Send Roses.” From Herman’s major rebound hit, La Cage aux Folles, he performs a song very personal to him, “Song on the Sand.” Toward the end of the show, guest singer Jessica Sanford was called upon to offer “Time Heals Everything,” while Andy Crosten presented “I Am What I Am,” both with great enthusiasm, if somewhat in need of vocal polish and control. For a spirited finale, audience participation with the performers on “The Best of Times” made for a rousing ending.

No Blue Monday is a solid show. It could be an excellent show if more theatrically considered. A seasoned director might guide Griffin’s enthusiasm and talent toward achieving greater finesse in staging and presentation.
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The show deserves to be taken to the next level, and with proper direction might even hit the “Big Time.”

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.