Quiet Please, There’s a Lady on Stage: A Celebration of Julie Wilson’s Birthday

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Quiet Please, There’s a Lady on Stage:
A Celebration of Julie Wilson’s Birthday

25th Annual New York Cabaret Convention

Rose Theater, NYC, October 21, 2014

By Alix Cohen for Cabaret Scenes

Julie-Wilson-Profile-Cabaret-Scenes-Magazine_212
Julie Wilson

It’s difficult to imagine the sizzling, über-feminine Julie Wilson as an Omaha tomboy. By the time she scrubbed the dirt off her knees and won Miss Nebraska at age 17, there was little question. From Earl Carroll’s Vanities, leggy Wilson joined the chorus line at The Latin Quarter and Copacabana, rising to featured vocalist. Musical theater roles in London, New York and on tour took her away from nightclubs in their heyday. During the ethos-changed ’60s, there were appearances at intimate boîtes.

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Marilyn Maye, Lennie Watts, KT Sullivan, Elizabeth Sullivan
Marilyn Maye, Lennie Watts,
KT Sullivan, Elizabeth Sullivan

Despite success, the artist then chose to return to Omaha and raise her sons. It wasn’t until1984, when her boys were grown, that our “torso temptress,” as one reporter deemed her, responded to an invitation from New York’s Michael’s Pub and returned in her elegant, sequin and gardenia glory. Rainbow and Stars, The Russian Tea Room, The Algonquin’s Oak Room and like-minded clubs across the country welcomed back the performer. Semi-retirement had not dimmed her authenticity, depth, and sass. Tremendously admired by the community, the indomitable Julie Wilson, her discipline, generosity, and joie de vivre are an example to us all.

With a giant photo of the birthday girl hanging from one balcony and 90-year-old Wilson ensconced in another, 25, count ’em, 25 vocalists accompanied by a roster of fine musicians performed tonight in a concert for the icon. (I’m sure she’d pish-posh the term, but there it is.) Some chose numbers associated with Wilson or those known to be especially appreciated by her, a few conveyed more personal messages.

Christine Andreas, Cole Rumbough, Corinna Sowers Adler, Amra Faye Wright
Christine Andreas, Cole Rumbough,
Corinna Sowers Adler, Amra Faye Wright

Herein some memories and some high points of the evening:

 T. Oliver Reid’s “But Beautiful,” utilizing the lighter side of his tenor voice, was almost powdery in its deft understatement, reaching across the footlights with sincere inflection. (Larry Yurman-piano, Saadi Zain-bass, Ray Marchica-drums)

The young, talented Marissa Mulder, unconsciously speaking for a new generation, prefaced her supple performance with “Thank you for showing me the kind of woman I’d like to be both on stage and off.” (Bill Zeffiro-piano)

“Julie was one strong woman in her day, still is. When we did Jimmy, she was living in New Jersey and took a bus home every night, carrying her stuff in sometimes heavy shopping bags. She had a two-mile walk after she got off, which made me think of a real pioneer woman from the covered wagons, fighting Indians and the weather. She’s one helluva dame and I love her.” — Anita Gillette

Marissa Mulder, Wayne Hosford, Karen Wyman
Marissa Mulder, Wayne Hosford, Karen Wyman

Christine Andreas’s gorgeous, signature vocal “pulse” manages to vibrate not only in her throat and chest, but in ours. A flawless rendition of “Bill” (Wilson sang this in Show Boat), left the audience holding its breath. One can only think of the nightingales of classic poetry. (Kenny Asher-piano)

Lauren Fox’s wonderfully original arrangement of “Stay Well” was ethereal in the classic folk tradition; her upper contralto pristine. (Jon Weber-piano. Ritt Henn-ukulele, Peter Calo-dobro)

“I had signed on to be one of the two pianists in a summer tour of a show called The Gershwin Years in the early ’70s. Julie was called in to replace another performer. When I got to rehearsal that morning, eager to meet this glamorous star, ever disciplined about her body, she was on stage standing on her head.” — Steve Ross

Valerie Lemon, Tony Sheldon, Ann Hampton CAllaway
Valerie Lemon, Tony Sheldon, Ann Hampton Callaway

KT Sullivan and her mother, songwriter Elizabeth Sullivan, dueted with great feeling on “As Long As We Sing,” an anthem to cabaret inspired by the late Mabel Mercer. If we ever take to the barricades, this would keep the campfires burning. (Jon Weber-piano.)

“We old ladies can hang out together and we hang well,” the indomitable Marilyn Maye told Wilson. (Really, Marilyn, how many times can one use the term indomitable?!) Maye’s rendition of “I’m Still Here” brought the house down. Phrasing, vocals, sashay, and communication agelessly intact. (Billy Stritch-piano, Saadi Zain-bass, Ray Marchica-drums)

The versatile Ann Hampton Callaway performed a resonant “Someone to Watch Over Me” and one of her spontaneous-throw-me-an-image songs with Wilson as its theme in which the audience joined. KT Sullivan, Artistic Director of The Mabel Mercer Foundation, then awarded the artist this year’s Mabel Mercer Award.

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Carol Woods, Holt McCallany, Deborah Silver, Nathan Chang,
Carol Woods, Holt McCallany,
Deborah Silver, Nathan Chang,

“We both shared a vocal coach with Peter Allen 40 years ago. Peter told me the song ‘Quiet Please, There’s a Lady On Stage’ came out of his saying that to some noisy audience members at one of her shows. People who don’t know the truth say it was about his mother-in-law, Judy Garland, but the truth is the ‘Lady’ was ALWAYS Julie Wilson.”Baby Jane Dexter

Kevin Spirtas offered a low key, well-phrased version of Peter Allen/Carole Bayer Sager’s “Quiet Please…,” which reverberated with collective reflection and was all the more powerful for lack of raised voice or jazzed-up interpretation. (Mark Hummel-piano, Saadi Zain-bass, Ray Marchica-drums)

Marieann Meringolo, Kevin Spirtas, Shana Faa
Marieann Meringolo, Kevin Spirtas, Shana Farr

“I took the cabaret Symposium at The O’Neill Center when Julie was one of the teachers. Her presence was regal, wise and very calming. She nurtured every single performer. Towards the end, I got to ask questions and get advice. When I talked about my husband, daughter, and animals, Julie agreed how important family and pets were to a performer in this crazy business. To my amazement, when my family came the last day, she remembered their names. To this day she always asks about them. That kind of priceless caring is the heart of Julie Wilson!”Valerie Lemon

Wilson’s son, Holt McCallany, delivered perhaps the most meaningful tribute to our celebrant: “As great a singer, actress and entertainer as my mother is, she’s an even greater mom.” Having learned from his mom about life, McCallany sang “That’s Life” in an appealing mid-range vocal with easy swing and naturally warm emphasis. (Mark Hummel-piano, Saadi Zain-bass, Ray Marchica-drums)

Kevin Dozier, Lauren Fox, T. Oliver Reid
Kevin Dozier, Lauren Fox, T. Oliver Reid

“On the occasion of her ninetieth birthday, I would like to say that after the privilege of working with Julie for three months, I have never been the same. When I behold the way she digs inside and brings emotion and truth to a lyric, spontaneity and perfect punctuation to a punch line, the vulnerability, command, control and release in each moment, I know I am in the presence of utterly great artistry. Neither song nor lyric have ever had a better friend than she—nor an audience, for that matter.”   — Wayne Hosford

Carol Woods delivered an appropriate whomp! finish with the pithy, sassy-mama “Don’t Ask a Lady” and a bull’s-eye “Here’s to Life,” during which you could have heard a pin drop. Woods has it goin’ on. Both numbers were swell. (Let’s bring back that adjective.) (Tex Arnold-piano, Saadi Zain-bass, Ray Marchica-drums)

Also featuring: Kevin Dozier, Amra-Faye Wright, Karen Wyman, Lennie Watts, Wayne Hosford, Tony Sheldon, Valerie Lemon, Cole Runbough, Maxine Linehan, Shana Farr, Marieann Meringolo, Nathan Chang, Corinna Sowers Adler, Deborah Silver.

Unfortunately, another overlong, unedited concert, the tribute to Julie Wilson did elicit heartfelt, well-earned accolades and many fine performances. There wasn’t a person present not hoping Julie Wilson was having a really good time. As she’s wont to do, I expect she did.

From a tribute to Julie Wilson at Iridium NYC, summer 2014:

“The first time I saw you [when I was] as a teenager, I was immediately in awe of your beautifully honest artistry, sense of humor and deep affection for this music…You’re one of the biggest champions of other artists, especially younger artists. Your words of wisdom, enthusiasm and incandescent spirit are a gift to us all.” — Jennifer Sheehan

Alix Cohen

Alix Cohen’s writing began with poetry, segued into lyrics then took a commercial detour. She now authors pieces about culture/the arts, including reviews and features. A diehard proponent of cabaret, she’s also a theater aficionado, a voting member of Drama Desk, The Drama League and of The NY Press Club in addition to MAC. Currently, Alix writes for Cabaret Scenes, Theater Pizzazz and Woman Around Town. Additional pieces have been published by The New York Post, The National Observer’s Playground Magazine, Pasadena Magazine and Times Square Chronicles. Alix is the recipient of six New York Press Club Awards.