Beth Leavel

Beth Leavel Sings Sondheim

54 Below, NYC, October 25, 2024

Reviewed by Bart Greenberg

Beth Leavel came to 54 Below NOT to sing “As We Stumble Along” nor “The Winner Takes It All” or any other number associated with her long list of Broadway triumphs, including her Tony Award for The Drowsy Chaperone. Instead, her sole focus in this show was on the work of Stephen Sondheim, including her on-stage announcement that she will be in the cast of the upcoming Old Friends. It will be her first appearance in a Broadway show with a score by the master, although she had appeared in many of them regionally. This rather brief show (under an hour) didn’t explore any obscure material (is there any obscure Sondheim left?) but it instead was enlivened by Leavel’s fine and fresh interpretations of his songs and by her on-point enactment of every lyric.

For example, her “Send in the Clowns” was filled with a regret and bittersweet reality that was immensely touching. On the other hand, “Could I Leave You?” had strength and resolve and powerful truthfulness. As for “The Ladies Who Lunch,” it was totally different from versons by Elaine Stritch and Patti LuPone, but it was just as valid and certainly as visceral. Even if she her singing hadn’t been asas good as it actually was (and that was very good indeed), she’d still have scored as a brilliant actress with this material.

The most personal part of the evening came when she spoke about her husband, actor Adam Heller who was present, and their marriage (his teaching her Yiddish which led to much teasing back and forth). She persuaded him to join her on stage so they could charmingly recreate their duet from the MUNY production of Gypsy, “You’ll Never Get Away from Me” (music by Jule Styne). Speaking of that show, Leavel’s encore was the ultimate showstopper, “Rose’s Turn,” and yes, she delivered it with all the passion, power, and vulnerability it required.

Music director/pianist Phil Reno provided the fine arrangements, including a blend of “Being Alive” and “Children Will Listen” that made the two songs fresh and emotionally powerful. Michael Kuennen on bass and Perry Cavari on drums gave great musical support. But it was Beth Leavel, center stage, who proved herself to be a true “Broadway Baby” with style, wit, and a great growl. As Cameron Macintosh said, “It is as if I never heard [these songs] before.”