Richard H. Blake
Music of My Life
The Green Room 42, NYC, August 27, 2021
Review by Bart Greenberg
A youngish veteran of show biz who began his career at 11 as the youngest person to ever be listed above the title for a Broadway show, Richard H. Blake has certainly earned the right to offer up a career retrospective in a creative cabaret show at The Green Room 42. Sadly, that musical was The Prince of Central Park, which lasted for only four performances. Because of an opportunity to be on Broadway, he turned down the chance to be a part of The New Mickey Mouse Club. (He was replaced by some kid named Ryan Gosling.) But onward he went, from Star Search to films to Broadway, where he has amassed some 15 credits, from playing romantic leads to bad guys to nurturing fathers.
Director Joe Ricci helped him to shape this program, creating a series of delightful and informative projections and video clips that illustrated Blake’s stories, both professional and personal. The star possesses a powerful rock tenor that he can bring down to scale for some memorable ballads as well; his relaxed, delicate “If I Only Had a Brain” in duet with guitarist Kenny Brescia was a highlight. The two joined up again for a reflective “New York State of Mind” with an extended solo for Brescia, which was also a great pleasure. Blake seems to thrive on collaboration, whether trading riffs with drummer Perry Cavari while tapping (yes, he does that as well) to “Fabulous Feet” or reuniting separately with three of his former co-stars for smashing duets.
These included “As Long as You’re Mine” with Wicked’s leading lady Jennifer Dinola (she’s played Elphaba more than any other performer in a variety of countries); “Suddenly Seymour” with Christini Pitts, who can offer the power of her performance while hinting that she has more in reserve; and Rent’s “Living in America” with Betsy Werbel, whose performance is pumped up with enormous energy. Pitts also provided gentle backup for Blake’s emotional tribute to Nick Cordero with “Live Your Life.” Music director/pianist Brian Kennedy provided fine support throughout, as did bassist Frank Centano.
On his own, Blake’s selections included a cleverly designed merger of “Song for You” and “On Broadway” to launch the evening and a surprising vaudevillian-style “Sara Lee” with some revised lyrics to refer to pandemic-induced binge eating. The finale was a massive medley he referred to as “15 and Counting” that referenced all of his Broadway productions, including the Plummer/Jackson Macbeth. That made for an energetic and satisfying ending to a delightful evening.
