The Beat of a Wandering Heart
The Songs of Marty Silvestri & Joel Higgins
Laurie Beechman Theatre, NYC, November 12, 2025
Reviewed by Bart Greenberg
The Beat of a Wandering Heart was presented at the Laurie Beechman Theatre and was far more a theater event than a cabaret show. Created and directed by the show-business dynamo Mark Nadler (who was also responsible for the intricate and intriguing music arrangements), this was a juke-box musical made up of the songs of Marty Silvestri and Joel Higgins, which were intriguingly woven together from various sources. The story they created may have been paper thin with only a few words of dialogue, but the emotions were strongly expressed through the lyrics, the melodies, and the expressive acting of the brilliant cast.
That cast consisted of two Broadway veterans and two newer faces. Of the younger participants, James Harkness offered pure charisma and sex appeal from his first number, a medley of “Storyville” and “Step Right Up.” The electric Casey Borghesi was a sultry seductress who possesses pyrotechnic vocals. As the older couple, who dally with the younger members, George Dvorsky was the epitome of a Broadway leading man, suave and in charge, at least on the surface, and the elegant and beautiful Christine Andreas was the soul and heart of the evening. These four singers formed a dramatic quartet as classic as those in Who’s Afraid of Virginia Woolf and Follies.
Every moment of the show was fully acted by these performers. For instance, the mutually seductive “Continental Sunday” delivered by Dvorsky and Andreas was focused and meaningful in every moment. Later, more seduction was in the air as Andreas and Harkness came together with a sizzling “Venga Con Mico a Bailare.” These actors not only sang of love but seemed to embody the desire for sex as well. All these moments were enhanced by Harkness’ erotic choreography.
The score was entertainingly varied with its emphasis on assorted Latin rhythms. The intoxicating environment they created perfectly framed the tales of adultery and shifting alliances. The duets included a pairing of the two men on the title tune, which had a Caribbean beat, and the two women on the worldly and witty “A Woman of Means.” Dvorsky sang the haunting “La Serenissima” with just guitar accompaniment, which created a beautiful mood. Excellent musical support was provided by pianist/conductor Harry Collins, guitarist Paul Livant, bassist Benny Lipson, and drummer Ray Marchica. OK, it wasn’t a perfect show (“Not Only Love” was a very weird song), but it certainly came close, and further development will definitely bring it closer to its goal.
