After Dark Cabaret
Tribute to Stephen Sondheim
Arizona Broadway Theatre, Peoria, Arizona February 11, 2022
Reviewed by Lynn Timmons Edwards
Kurtis Overby (pictured), ABT’s associate artistic director and the choreographer of Gypsy, was back as the emcee for the After Dark Cabaret. His comedic and irreverent commentary was somewhat subdued this evening, perhaps because many of the performers were the children from the cast of Gypsy. Ten-year old McKenzie Lopez-Lira opened the cabaret with “Broadway Baby” from Follies which she made work for her by taking the term “baby” literally. As one of the alternate Baby Junes she has a big voice and is very poised in front of an audience. Eleven-year-old Parker Pitt also chose an age-appropriate song in “Beautiful Candy” from Bob Merrill’s Carnival, although how that fit into the Sondheim tribute remains a mystery. Brooklyn Martin, also eleven, chose “Second Hand White Grand” from Smash (Marc Shaiman and Scott Wittman) and, although talented, does not yet have the maturity to sing a song of such reflection. The much older Samantha “Sammie” Zell at thirteen accompanied herself on a version of “House of the Rising Sun.” These gifted and well-coached youngsters delighted the capacity audience of patrons, fellow performers, and especially parents taking phone videos for social media.
The adult cast members did stick to Sondheim, although it would have been great to hear their thoughts about the giant of musical theater who just passed and why they chose the song that they did. The starring cast members rarely if ever appear in the After Dark Cabaret. Still, part of the fun is discovering hidden gems of talent among the ensemble members of the main stage show. One such emerging star was Albert “Albie” Hsueh. With a wisp of a frame and a tenor voice, he was delightfully comedic and entertaining with his rendition of “Love I Hear” from A Funny Thing Happened on the Way to the Forum. If he hasn’t played the character of Hero from that show, he should. Similarly capable was Thomas Whitcomb who held the stage and sang a heartfelt “Giants in the Sky” from Into the Woods. Alyssa Armstrong performed an abbreviated version of “(Not Getting) Married Today” from Company. She had full command of the lyrics, and appeared in white jeans and a midriff-revealing white shirt, a clever modern take on the wedding dress. It would have been nice to hear the entire song. Lonnie Runland offered up a jolly interpretation of “Good Thing Going” from Merrily We Roll Along. A sincere Delaney Spanko chose the little-known musical nugget “Take Me to the World” from Evening Primrose, which should be sung more often. She hit an unusually high note at the end.
Singer/actors Blair Beasley (who played Mazeppa in Gypsy) and Kiani Nelson (who played Electra in Gypsy) garnered the longest applause during that show with “You Gotta Get a Gimmick.” They did not disappoint when they took the cabaret spotlight. Beasley handled “Being Alive” from Company (not originally written for the female voice) like a Broadway pro. Nelson closed the cabaret with her own authentic offering of “Send in the Clowns” (A Little Night Music). Destiny Walsh showed off her vocal training with “Green Finch and Linnet Bird” from Sweeney Todd. Alexia Lorch and Tony Blosser took on the only duet of the evening with “Move On” from Sunday in the Park with George. Blosser was so nervous he was shaking, but I saw the depth and complexity of George in his eyes.
Overby said he was grateful not to be at the keyboard playing Sondheim. “Too many notes, too many key changes!” No doubt, he could rise to the occasion, but why bother when there is no better accompanist than James May who has extensive and international musical-theater experience but now lives here in Scottsdale, Arizona. May served as the musical director for Gypsy. Overby shared that May had to step away from the conductor’s podium due to Covid; he is now healthy, and he came back just to play the cabaret. Overby teased us that James would be sharing his own Sondheim story, but, alas, the clock was nearing midnight so that did not happen.
ABT could do a lot more with the After Dark Cabaret, but getting cast members up to sing for an intimate audience is a win-win for both the patrons who would not miss one and the performers who gain the experience. Next up will be Flash Dance which runs March 18 to April 24 with the cabaret scheduled for Friday, April 8 following the show.
