The 36th New York Cabaret Convention

The Best Is Yet to Come: A Celebration of Cy Coleman

Rose Theater, NYC, October 21, 2025

By Alix Cohen

Weeeeeeere back! Under the aegis of the venerable Mabel Mercer Foundation, the cabaret community gathered once again to support and celebrate live music. Vocalists of all ages and styles entertained fans familiar and new.

Before having a memorable Broadway career, Cy Coleman (Seymour Kaufman) 1929-2004 performed classical piano as a child prodigy between ages 6 and 9, led the Cy Coleman (jazz) Trio, and successfully assembled a catalog of popular music. This musician/songwriter/producer enthusiastically juggled multiple projects until his death. He won five Tonys, two Grammys, and secured an Academy Award nomination.  He said, “The only way to keep writing is to keep writing.”

Who better than Carole J. Bufford to open the evening’s tribute with “Hey Big Spender” (Sweet Charity; lyric by Dorothy Fields). Her knees were turned in below hip-shimmying fringe, her arm was insouciantly draped on the microphone stand, and her vocal beckoned. The persuasive Bufford could give lessons in sizzle (Ian Herman, piano).

In their 11th year of collaboration, hosts Jeff Harnar and Andrea Marcovicci welcomed us with a playful rendition of Coleman’s “A Doodlin’ Song” (lyric by Carolyn Leigh) followed by his go-to party number, “Some Kind of Music”: “All I want is some kind of music in my ear.” Pianist Nicolas Perez along with Steve Doyle on bass and Ron Terno on drums contribute jaunty back-up vocals.

Later, Harnar offered “Witchcraft” (Leigh) with creamy finesse and unexpected falsetto (Alex Rybeck, piano; Aaron Heick, sax). Marcovicci performed “Isn’t He Adorable?” (lyric by Joseph McCarthy) as if “he” was backstage. A lovely note from Coleman’s wife was read aloud.

Bryce Edwards, without his Frivolity Hour band, showcased consummate 1920s style on the vaudevillian “Hey There Good Times” (I Love My Wife, lyric by Michael Stewart). With his eyebrows up and eyes wide, he played banjo and (hung around his neck) a 1900 Songophone kazoo like nobody’s business. Jon Weber played gleeful piano.

Nicole Zuraitis’ version of “I Walk a Little Faster” (Leigh) landed too dramatically for the lyrics. A slow dance version of “Why Try to Change Me Now?” (McCarthy) by Jonathan Karrant was sensitive, but his closed eyes shut us out (Jon Weber, piano).

Eden Casteel’s “Veronique” (Comden & Green), which was originally performed by Madeline Kahn in On the Twentieth Century, teetered on caricature. Long-time editor of Cabaret Scenes, Frank Dain, sang a palpably tender “Come Summer” (Leigh) with Kathleen Landis was on piano; it was a lovely arrangement.

Executive director of the American Songbook Association Carolyn Montgomery’s “Rules of the Road” (Leigh) was earthy and bruised. The song is associated with Rosemary Clooney, the subject of Montgomery’s most recent show. This was her Convention debut (Jon Weber, piano; Warren Vache, trumpet, Jonathan Kantor, sax).

Eric Comstock (vocal/piano) and Barbara Fasano decanted the wistful “Little What If (Little Could Be)” and the swinging “When in Rome (I Do as the Romans Do)” (Leigh). Ever sophisticated, jazzy yet melodic, the pair reflected as much respect and affection as talent.

Dedicated to the great Tommy Tune, Richard Skipper, in signature sequined jacket and footwear, delivered a buoyant “It’s Not Where You Start” (Seesaw; Fields), Fun! It was his Convention debut. (Michael McAssey, piano).

A trenchant “You There in the Back Row” (13 Days to Broadway, Barbara Fried) was performed by Ari Axelrod who looked towards the balcony or, perhaps, to God. “Show me dreams come true,” he sang. Given the artist’s commitment to Israel, it was impossible not to project the latter.

Karen Akers’ “The Colors of My Life” (Barnum; Stewart) emerged as if out of personal history—proud, tremulous, satiny. The actress inhabits lyrics. (Pianist, Alex Rybeck; enchanting arrangement.)

Craig Rubano’s interpretation of “On the Other Side of the Tracks” (Little Me, Leigh) manifested guileless aspiration. The vocalist dropped 30 years. We believed every word. (Beth Ertz, piano; lovely arrangement.)

“The City of Angels Overture” was performed by The Angel City Four—Amy London, Rachel and Steve Weisbart, and Peter Davis— all of whom were involved in the Broadway production. This is probably the only noir scat written for a musical. Convention debut. (Original arranger, Yaron Gershovsky, was on piano and Ron Horn on trumpet.)

Karen Mack performed a silky “Baby Dream Your Dream” (Fields) with Michael McAssey on piano. Then, Those Girls—Karen Mack, Eve Eaton, Rachel Hanser, and Wendy Russell—harmonized on a vivacious, skillfully arranged “The Rhythm of Life” (Fields) from Sweet Charity (Steven Ray Watkins, piano).

Marta Sanders’ “Here’s to Us” (Leigh) from Little Me packed a wallop. “A good song to be performed after the next No Kings demonstration,” she observed. Her superb vocal was clarion but not brassy. Sanders’ frequent collaborator (in Show Broads), Leanne Borghesi, swathed in the hottest pink and marabou, rendered “You Can Always Count on Me” (City of Angels; lyrics by David Zipple) with honeyed heat and pizzazz.

“Pink Taffeta Sample Size 10” (Fields), a song gifted to Tovah Feldshuh by Cy Coleman, was delicately performed by that girlishly dressed artist.

Ann Kittredge’s “With Every Breath I Take” (City of Angels; Zipple) showcased her impeccable control and emotional phrasing. Her gown was equally awesome (Christopher Denny, piano). Donna McKechnie, who played Charity Hope Valentine in the national tour of  Sweet Charity, warmed the room with a poignant “Where Am I Going?” (Fields) in pristine voice (Ian Herman, piano).

Showman extraordinaire Lee Roy Reams sang three songs from Sweet Charity, the show in which he made his Broadway debut.; his stage flair was omnipresent (Alex Rybeck, piano). Reams was then recognized with the much-deserved The Mabel Mercer Award. Huzzah!

Jeff Harner and Andrea Marcovicci’s enthusiastic “Hey Look Me Over” (Leigh) (Wildcat) led to “The Best Is Yet to Come” (Leigh), convincingly declared by Ann Hampton Callaway, who aptly called Coleman “an urbane optimist.” The audience collectively snapped fingers to her infectious rhythm (Jon Weber, piano).

This was an entertaining evening that had a broad range of material and was smoothly produced.