Review: NORM LEWIS' Swingin' Christmas Show Strives For Hominess At Feinstein's 54 Below

With a song list comprised partially of holiday numbers, partially of high points in his Broadway career having nothing to do with Christmas, and partially of--I don't know, how would you categorize "Fever" in this context?--Norm Lewis is making his debut at Feinstein's/54 Below this week (9:30 shows continue tonight and tomorrow night) in a show called Norm Lewis Wishes You a Swingin' Christmas, directed by veteran Broadway actor/singer/dancer Richard Jay-Alexander.

In an effort, one assumes, to be homey, the show contains a great many invited call-outs from the audience, arbitrarily gifting a signed ornament, and handing out 2" candy canes unrelated to a simple song that needs no gimmick. Lewis tries too hard. While the few personal stories work to warm the room, tenuous reasons for offering non-holiday songs in a titled holiday show do not.

The performer has a fine instrument and the ability to deeply resonate or sing high and feathery. He seems, unfortunately, more concentrated on exercising this than expressing lyrics. While "Bring Him Home" (from Les Miserables, in which he played Inspector Javert) is performed with the feeling of its nickname, the prayer, "I Got Plenty O' Nuttin" (From Porgy and Bess, in which he played Porgy) relies entirely on a big smile and technique. A very pretty version of "What Are You Doing New Year's Eve?" with an appealing, classically tinted piano break doesn't embody the romantic hopefulness of its sentiments. "Fever" arrives without credible innuendo.

Best numbers are an unpredictable mix. A striking arrangement of "Little Drummer Boy" begins with aggressive bongos, which slow to a rhythmic march. Upright bass is traded for bass guitar. Piano adds rock tonality with surprising bridges between beats. "All Alone in The World" from Mr. Magoo's Christmas Carol (here's where the candy canes come in) is simply lovely: A hand for each hand was planned for the world/Why don't my fingers reach?/Plenty of grains of sand in the world/Why such a lonely beach? . . . Straightforward, sung rather like a child, Lewis gives this poignancy more familiar numbers lack. Of the same ilk is a rendition of "Thank You For Your Love" which arrives light, lilting and sincere.

Two thirds of the way through the evening, Lewis leaves the stage in order to change clothes/take a break--pretty much never a good idea. During this parenthesis, Tuesday night's guest, cellist Nick Canellakis, performs two classical pieces with piano accompanist Michael Brown. Though this artist is an extraordinary talent--his Bulgarian folk dance stops one's breath with precision and passion--the break in Lewis' show by more unrelated material is discomfiting. Too much of the evening is spent without the headliner's singing.

Just before this turn, Canellakis backs Lewis in a rendition of "Ave Maria"/"Holy Night," tandem songs the vocalist apparently performed for The Pope. These are quite beautiful. Lewis feels invested, focused. He has a way of breaking up a word--down on your knee- ee-ees--and of shifting octaves with liquid fluidity.

Musical Director/Pianist Joseph Joubert plays as if each song passes through his very sinew, rocking back and forth, hunching up, elbows out, shoulders in motion. Deft touch and rich texture are a pleasure. Bass--George Farmer; Drums--Perry Cavari.

Photo by Stephen Sorokoff

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