Marin Mazzie: 54 Below

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Marin Mazzie

54 Below, NYC, February 4, 2015

Reviewed by Joel Benjamin for Cabaret Scenes

Marin-Mazzie-Cabaret-Scenes-Magazine_212Who really wants to relive the teen years, that period filled with angst, bad choices and sexual awakenings? Marin Mazzie not only relived her teens but reveled in them, glorifying and spinning them into a show of golden oldies but goodies, beginning with a sultry “Come On-a My House” (Ross Bagdasarian/William Saroyan) and a cool “That’s All” (Alan Brandt/Bob Hayms).

While telling stories of her family’s listening habits and the beginnings of her performing career, she dredged up all the clichéd songs, but performed them in original ways. There was a “Tenderly” (Walter Gross/Jack Lawrence) with an insistent beat under the melody, and a sad, almost disjointed, “Begin the Beguine” (Porter), shunning in its sensuality.

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She took the anthemic “Make Your Own Kind of Music” (Barry Mann/Cynthia Weil) and turned it into a quiet meditation, while giving “Anyone Who Had a Heart” (Bacharach/David) its full pop oomph.

“Son of Preacher Man” (John Hurley/Ronnie Wilkins) had a strong disco beat.
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“That’s the Way I’ve Always Heard It Should Be” (Simon/Brackman) was touching, her eyes and voice clearly reflecting her memories, with a gentle guitar riff completing the mood.
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That mood was enhanced by “Weekend in New England” (Randy Edelman), performed as a make-out song.

She ended with Neil Diamond’s “I’m a Believer,” using her biggest voice, turning 54 Below into a revival meeting.
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Her musical director, Joseph Thalken, led Pete Donovan (bass), Larry Lelli (drums) and Nate Brown (guitar) in fresh, expressive arrangements.

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Joel Benjamin

A native New Yorker, Joel was always fascinated by musical theater. Luckily, he was able to be a part of seven Broadway musicals before the age of 14, quitting to pursue a pre-med degree, which led no where except back to performing in the guise of directing a touring ballet troupe. Always interested in writing, he wrote a short play in high school that was actually performed, leading to a hiatus of nearly 40 years before he returned to writing as a reviewer. Writing for Cabaret Scenes has kept him in touch with world filled with brilliance.