The 35th Annual New York Cabaret Convention
Everything Old is New Again
Rose Theater, NYC, October 24, 2024
Reviewed by Alix Cohen
Photos by Richard Termine
Subtitled Classic Songs, Old and New, this third and final evening this year’s New York Cabaret Convention spotlighted a cornucopia of performers, material, and eras. Exemplifying the point, artistic director and host for the evening, KT Sullivan, wearing her opulent velvet wedding dress, opened with James Lyman Malloy’s 1878 “Kerry Dances,” gravitas buoyed her soprano. “Mabel Mercer used to song that song,” she reminded us.
Direct from New Zealand, Ali Harper presented a gorgeous “Marieke” (Jacques Brel) in English and Dutch. It was an appeal to the gods, wrenching and deeply affecting. Someone book this artist, please. Mentioning his admiration for Steven Litvak, whom he had booked at Don’t Tell Mama, Sidney Myer offered that songwriter’s “Bagel Maker to The Czar” in his inimitable, droll, totally unique fashion. “An entertaining storyteller to his toes.” (Tracy Stark was on piano)
This year’s winner of the Adela and Larry Elow High School Competition, Luz Velasquez, performed “Midnight Sun” (Lionel Hampton/Sonny Burke/Johnny Mercer) and was cheered on by students from the Celia Cruz High School in the Bronx. She delivered lyrics with superb control and communicated with the audience. She’s ready for prime time. At Sullivna’s request, Melissa Errico started with a few (very funny) words that academically dissected her contribution, “The Lady Is a Tramp” (Richard Rodgers/Lorenz Hart) Errico held the microphone and danced and played to her audience as she fully inhabited the classy, sexy Mrs. Simpson from Pal Joey.
“Some songs just never get old,” began Robert Cuccioli. “In My Own Lifetime” from Jerry Bock and Shendon Harnick’s The Rothschilds (in which he starred at the York Theater) was emotionally compelling from the first phrase. Cuccioli brought solemnity and hope to this weight-bearing song. “I want to know we haven’t built on sand” arrived as a prayer. Amra-Faye Wright can always be depended upon for show-woman dazzle. “Where You Are” from John Kander and Fred Ebb’s score for Kiss of The Spider Woman was the song of a desperate prisoner who must imagine himself in different circumstances to survive, yet it was bright and unbuttoned in melody and performance. Wright moved like a dream as she commandeered the stage. Speaking of commandeering, Klea Blackhurst erupted with a completely reframed “Don’t Rain on My Parade” (Bob Merrill/Jule Styne), with her BIG voice, big personality, and big determination; the audience sat up straighter. (Michael Rice was at the piano).
Familiarly suave, Eric Comstock and Barbara Fasano presented a Margaret Whiting tribute that showcased their individual and combined talents. These two never flag; their performances were warm, respectful, lightly jazzy, and authentic. Lorna Dallas’ take on “Here’s That Rainy Day” (Johnny Burke/Jimmy Van Heusen) was a version unlike any other you may have heard; it was the version used in Carnival in Flanders, including the monologue. After setting the scene, she became the character and proved herself to be an actress as well as a vocalist.
At this point one can safely say Carole J. Bufford holds the crown for red-hot-mama cabaret. She sashayed into “A Bad Bad Woman” (Rowland Leigh/Richard Addinsell), as a seductress with a sense of humor. She teased, strutted, undulated, seethed, and laid siege to the material. (Ian Herman was her pianist). Alexis Cole invoked the dark version of a young singer’s dues-paying struggle with her reimagined “Theme from New York, New York”; it worked. Drawing on the evening’s title song, Peter Allen’s “Everything Old is New Again,” Tim Connell tapped (no pun intended) his theater training for jaunty dancing and old-timely inflection; it was frothy and charming.
Other performers featured included Rosemary Loar’s inspired combination of “People Will Say We’re in Love” (Richard Rodgers/Oscar Hammerstein II) and “Something to Talk About” (Shirley Eikhard); Julia Parasram’s clear, well-calibrated pop song; Craig Pomranz’s wry, parlando “I Always Say Hello to A Flower” (Murray Grand; Michael Roberts was at the piano); Alex Leonard’s genial “Teach Me Tonight” (Gene De Paul/Sammy Cahn); Marni Klar with Carly Simon’s “Anticipation” was missing the sass (Steven Ray Watkins, piano) ; Deborah Stone’s take on Stephen Sondheim’s “Ladies Who Lunch”lacked sarcasm; Faye Cantaro’s well-sung, but expressionless debut; Naathan Phan with magic and song; Celia Berk’s rendition of an Elizabeth Sullivan original (Seoyeon Im, violin); Arbender Robinson’s deft, arresting “Make Them Hear You” (Stephen Flaherty/Lynn Ahrens); Paula West with a deconstructed “Like a Rolling Stone” (Bob Dylan) with Jerome Jennings on drums.
The house band consisted of pianist Jon Weber, bassist Steve Doyle, and drummer Daniel Glass.
