Seth Rudetsky: Seth’s Big Fat Broadway

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Seth Rudetsky

Seth’s Big Fat Broadway

Feinstein’s at the Nikko, San Francisco, CA, September 13, 2014

Reviewed by Steve Murray for Cabaret Scenes

 

Seth-Rudetsky-Seth's-Big-Fat-Broadway-Feinstein's-Cabaret-Scenes-Magazine_212Seth Rudetsky brought his brilliant tour-de-force “deconstruction” show to his rabidly devoted San Francisco fans who get his material and appreciate each and every reference and acerbic quip. The deconstructions work like this: a clip of a vocal is either amazingly good or amazingly bad.
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The clip is dissected, played back with Rudetsky lip-synching to hilarious conclusions. No one is exempt from his rapier wit, from Barbra Streisand transposing consonants in lyrics, then accentuating the change, to Bea Arthur doing an angry line reading finish to “Don’t Rain on My Parade,” which is cut off by an over-anxious conductor.
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Rudetsky, a precocious theater addict from birth, knows music in depth and chooses hilarious examples for his well-thought-out categories. There’s riffing, where singers change the melody for better or worse, “what are you wearing?,” “what were you thinking?” and the use and overuse of vibrato and high belting. Clips also included: Janis Paige singing flat; Cher’s horrific solo re-creation of West Side Story; Liza Minnelli singing a funk/high soprano rendition of “Dancing in the Moonlight”; Patti LuPone’s Evita (great) versus Madonna’s (bad); and Betty Buckley (amazingly great sustained E).

Rudetsky’s attention to musical minutiae, combined with his astute musicianship, makes for a thoughtful, always hysterical romp through exactly what we theater and pop music aficionados have thought all along.
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He has found a unique and highly entertaining way of pointing out the obvious, and I haven’t laughed as hard in a show in years.

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Steve Murray

Always interested in the arts, Steve was encouraged to begin producing and, in 1998, staged four, one-man vehicles starring San Francisco's most gifted performers. In 1999, he began the Viva Variety series, a live stage show with a threefold mission to highlight, support, and encourage gay and gay-friendly art in all the performance forms, to entertain and document the shows, and to contribute to the community by donating proceeds to local non-profits. The shows utilized the old variety show style popularized by his childhood idol Ed Sullivan. He’s produced over 150 successful shows, including parodies of Bette Davis’s gothic melodramedy Hush, Hush Sweet Charlotte and Joan Crawford’s very awful Trog. He joined Cabaret Scenes 2007 and enjoys the writing and relationships he’s built with very talented performers.