Charles Busch
My Leading Ladies
54 Below, NYC, March 23, 2025
Reviewed by Jacqueline Parker
Photo by Maryann Lopinto
Well, he sure knows how to make an entrance! Sleekly attired in black with four inches of rhinestone bracelets on each arm, who else could it be but Charles Busch? Entering 54 Below from the bar side of the stage (instead of the usual opposite side), he made his way to thunderous applause across the back of the audience, greeting guests with sincere expressions of gratitude and warm hellos. He had the regality of a king and the beneficence of a pope and was greeted as formally and as warmly as any potentate could expect. The royalty (Donna McKechnie) and patron saint (Marilyn Maye) of the cabaret world were there to be part of this intimate view into the life and world of this versatile and beloved entertainer.
As the title implied, Busch paid homage to many of the ladies in his life, including his Aunt Lil, who was his personal Auntie Mame as he was growing up, and Elaine Stritch, who was, well, Elaine Stritch and all that goes with her. The mixture of the familiar and unfamiliar names delivered a cocktail of excitement as he told anecdotes about them all. He began with the rousing “Once in a Lifetime” (Leslie Bricusse/Anthony Newley from Stop the World—I Want to Get Off). He reminisced about the time he first performed at 54 Below, using the lyric of the song “Now” to emphasize how foolish it was to ponder insignificant moments of the past when the really important thing this very moment.
Adding to the cozy and familial feeling of the evening was Busch’s nephew Jimmy Stull on guitar, who accompanied his uncle on one number. John Miller on bass, Kim Bonsanti on trumpet, and Loic Da Silva on accordion added their own touches under the guidance of music director Jono Mainelli, who also supplied piano accompaniment.
Each song Busch performed was preceded by and followed by stories of his life; first he announcement that life had been ceremonial for him recently. He explained that this was because he was receiving recognition for his lifetime of superlative work, perhaps the most prestigious of them being his induction into the Theater Hall of Fame last year. “La Foule” (Michel Rivgauche), made famous by Edith Piaf and usually sung in French, was a delightful change of pace; its new English lyrics were provided by Busch himself and added further testament to his worthiness to be in the Hall of Fame.
Dolly Parton, Mae West, Vivien Leigh, Claudette Colbert, Bette Midler, Billie Holiday, Kim Novak, and even Maxene Andrews all had mention along with hilarious storiesabout them, most of which are not printable here. Part of the magic of Charles Busch is that you get him, of course, but you also get the indelible memories of characters from the shows he’s written and/or performed in, all delivered with merely a raised eyebrow or the inflection of his voice.
Most poignant were his renditions of “Both Sides Now” (Joni Mitchell) and “Don’t Like Goodbyes” (Harold Arlen/Truman Capote). These songs were probably familiar to most of the audience, but Busch imbued them with textures and colors that made them seem new. His tender approach also made them seem more powerful.
Another marvel about him is that he seduces a song and coaxies from the lyric meanings that may not have been apparent in previous hearings. Conversely, he seems to be seduced by the audience, at times revealing more of himself than he might have intended. The entire formula was quite entrancing, and that’s a rarity in the entertainment world.
His penultimate number was “I’m Still Here” (Stephen Sondheim), which he punctuated by tales about his leading ladies along with a hilarious story about performing it at a luncheon for actresses. Again, the story is unrepeatable here. Yes, Charles Busch is still here, and an enthusiastic audience let him know how glad they were that he is!
