The 37th Annual Cabaret Convention
Sammy—All the Way and Then Some:
The Songs of Sammy Davis Jr.
Rose Theater, NYC, October 14, 2026
Reviewed by Alix Cohen
Photos by Richard Termine
Sammy Davis Jr. left behind a dazzling legacy as one of the greatest entertainers of the 20th century: singer, dancer, actor, and master impressionist. From unforgettable performances to his courageous fight against discrimination, the artist was more than a star—he was a trailblazer.
Opening with a luscious “Begin the Beguine” (Cole Porter), enthusiastic host Natalie Douglas called Davis, “the most talented person to live ever, ever, ever. Douglas had invited many artists rarely seen on a cabaret stage.
As Director of Education at The Mabel Mercer Foundation, the host introduced Reed Harris Butts whose “Birth of the Blues” (Buddy DeSylva & Lew Brown/Ray Henderson) showed not only talent and personality, but unusual poise for a debut.
Luz Velasquez, who made her debut here last year, offered “What Kind of Fool Am I?” (Antony Newley/Leslie Bricusse). The vocalist has a fine voice, but neither the song, which refers to the unchanged “man” singer nor its arrangement, did her any favors. Presented with The Iris Williams Award that encourages young singers, she’ was clearly surprised and grateful.
A third student, Suri Vu, won the 2026 Jim and Elizabeth Sullivan Award. Her choice was “Something’s Gotta Give” (Porter). This young woman showcased pleasing timbre. Her song, however, was too sophisticated; her performance lacked understanding.
Highlights:
“Who Can I Turn To?” (Newley/Bricusse) was ably served by David Raleigh with an understated, yet imploring interpretation. The bass unexpectedly gets a turn at melody. Valarie Pettiford’s tensile vocal of “Don’t Get Around Much Anymore” (Duke Ellington/Bob Russell) brought out the vamp in her. Sinuously moving, she added another dimension to performance.
“Feelin’ Good” (Newley/ Bricusse) started a cappella. NaTasha Yvette Williams was warm, sultry, ripe; control gorgeous. The vocalist ably played with phrasing.
Stephanie Pope’s tandem “Once in a Lifetime” and “Gonna Build a Mountain” (both Bricusse/Newley) were excavated for both lyric meaning and rhythmic roots. Pope moved like a dream and set off entertainment sparks. Why does she never play New York?! Sumptuous piano accompaniment by MD Ian Herman.
Introduced as nonbinary, Diva LaMarr aptly sang “I Gotta Be Me” (Walter Marks). They began a cappella, hands on hips, rife with feeling. Bass pulsed, then the band came in. Their slightly gravel voice was perceptibly sincere. The song landed well. “Night and Day” (Porter) was ably interpreted by virtuoso Gabrielle Stravelli, who seems to effortlessly put her stamp on anything she sings.
Natalie Douglas told us “Mr. Bojangles” (Jerry Jeff Walker) had long been represented as a song “about those on whose shoulders we stand.” In fact, Walker declared he wrote it in a New Orleans drunk tank. With only piano, the artist created a beautiful rendition, jewel-like in its minimalism. A sizzling low key “I’m Gonna Live Till I Die” (Mann Curtis/Al Hoffman/ Walter Kent) erupted with T. Oliver Reid’s determined power vocal of the song.
Clint Holmes’ rendition of “Hey There” (Richard Adler/Jerry Ross) was as swoony as it gets. Holmes leaned out to the audience. We could almost hear the sighs. He was then presented with the 2026 Mabel Award for Lifetime Achievement as an artist “…whose multi-style vocals have excited, entranced, and elevated audiences across six decades…” (from the award notation).
In 1964 on The Ed Sullivan Show, Davis performed a medley from West Side Story (Leonard Bernstein/Stephen Sondheim) with only bongos accompanying. Tonight, Holmes recreated the feat in his own unique style. (Shawn Dustin on percussion.) Compilation emerged raw, wrenching, kinetic; part parlando, part sounds/ scat, part song. A tour de force I doubt we’ll see anywhere again, his performance was thrilling. Like Sammy Davis, Jr., this artist is consummate in the breadth, creativity, and virtuosity of his talent.
Also Featured:
Ever erudite, Eric Comstock began with the Dick Schaap quote, “Some people think Davis has a God complex. That’s absurd. On the seventh day, Davis works!” His solo “Too Close for Comfort” (Jerry Bock & George David Weiss/Larry Holofcener) arrived with signature ease, sophistication, and flair.
Later, Comstock accompanied Barbara Fasano’s “I Could Have Told You So” (Jimmy Van Heusen/Carl Sigman), which was earnest and awash with emotional texture.
A percussive, jazz interpretation of “That Old Black Magic” (Harold Arlen/Johnny Mercer) was delivered by Darnell White as he strolled the stage. Wielding his trombone, Jonathan Aarons bounced, pranced, swiveled, and did a split during “Barretta’s Theme.”
Bryan Eng’s café version of “Cheek to Cheek” (Irving Berlin) was easy to imagine at Bemelmans Bar, where the artist performs.
Hands clasped, Anna Anderson’s unembellished “For Once in My Life” (Orlando Murden/ Ron Miller) emerged pure song, then morphed into up-tempo Las Vegas with gospel tone. And she danced!
“Night Song” (Charles Strouse/Lee Adams), as configured by Jon-Michael Reese, evinced a long-lined vocal and accompaniment that felt like it belonged to different material.
Amanda King’s “The Rhythm of Life” (Cy Coleman/Dorothy Fields) arrived exuberant, but somehow not infectious. Vocal was clear and vivacious. Klea Blackhurst has all the nonsense words down in “Talk to the Animals” (Leslie Bricusse). The animated Blackhurst can brighten anything. “The Battle of Johnny Cool” (Mark Barkan/Miriam Lewis) was an unfortunate choice by Englishwoman Debbie Wileman.
Natalie Douglas and the company encourage the audience to sing along with “The Candy Man” (Newley/ Bricusse).
Tonight’s band was Dionne James Hendricks (MD/piano), Lavondo Thomas0 (bass), and Shawn Dustin (drums).
