54 Salutes Sinatra:
Celebrating His Second Century
Feinstein’s/54 Below, NYC, May 24, 2022
Reviewed by Ron Forman
Twice a month, Scott Siegel produces a new show with newly
chosen songs and different vocalists for his ongoing series, 54 Salutes Sinatra:
Celebrating His Second Century series at Feinstein’s/54 Below. The songs presented
are always those that Sinatra performed but not necessarily songs that are
associated with him. Given that Sinatra performed over 1,200 songs in his
career, this gives Siegel has an almost unlimited pool of material from which to
choose for his cast of excellent vocalists selected from the Broadway and
cabaret stages. This 51st edition even included two tap dancers.
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The vocalists perform
the songs their way, not the way Sinatra sang them. As in all of his shows,
Siegel introduces each number with an interesting background story about the
song or Sinatra’s recording of it. Music director/pianist Robert Frost ably
accompanied each singer’s style and sound.
Pete Caldera opened the show with a nice and easy “Nice ‘n’ Easy” that included an applause-inducing solo by Frost. Ryan Knowles has a big, booming voice and dresses to be noticed, and his movement across the stage and his hand gestures make him fun to watch. His songs, “Call Me Irresponsible” and “Cheek to Cheek,” had unique arrangements that matched his flamboyant style and his great sound. Michael Winther performed a very powerful “I’m Gonna Live Till I Die,” as well as an emotionally charged and even more powerful “Come Rain or Come Shine.” Eighteen-year-old wonder Anaïs Reno’s beautiful voice and dramatic skill were perfect for “Willow Weep for Me.” Mary Donnelly included a nice tap-dancing segment in her swinging performance of “That Old Black Magic.” The great applause generated by Luke Hawkins dazzling tap dancing through “Love and Marriage” proved that you don’t have to sing it to score with a classic Sinatra song. Douglas Ladnier has a very powerful baritone, looks marvelous on stage, and brings his great dramatic skill to every number he performs. His take on “I’m a Fool to Want You” started softly and slowly and then kept building until it finally faded away. He closed the show with an ultra-dramatic “My Way,” repeating “My Way” and holding the final note on “way” to rising audience applause.
