Broadway Unplugged: Sound Design by God

It's one of the brightest spots of November; an evening when musical theater fans gather with baited breath to see who's got it and who doesn't. Scott Siegel's annual Broadway Unplugged concert at Town Hall is as much a test of skill and style as it is a celebration of the best of Broadway's songs and singers. With no microphones to help their voices resonate throughout the massive theater, the selected singers have to prove themselves to an audience of the most demanding fans in the city. As Siegel himself regularly comments, the only sound design for the evening is by God.

Under Scott Coulter's smart and laid-back direction (and Ross Patterson's ever-melodious musical direction), last week's concert was a pure and simple tribute to the best the human voice can achieve. Given the nature of the show, it can be taken for granted that every performer in the evening is a top-notch singer. From the opening two songs from Man of La Mancha (the titular song was performed with intense power by William Michals and winsome humor by Bill Daugherty; and Michal's rendition of the iconic "Impossible Dream" was simply glorious) to the closing chorus of "What I Did for Love" (led by the very capable Janet Metz, who gave the song a strong measure of defiant dignity), the evening was nothing less than grin-inducing throughout. 

One notable quartet of songs formed a narrative arc (somewhat of a stretch, but just go with it). Manu Narayan sang a nicely plaintive "Joey, Joey Joey" from The Most Happy Fella; Janet Metz made "Tell Me on a Sunday" from Song And Dance more quietly angry that tragic (very effective choice); David Brian Colbert sang "What Kind of Fool Am I?" from Stop The World, I Want To Get Off; and Jill Paice sang a gorgeously poignant "Not a Day Goes By" from Merrily We Roll Along. (Hey, aren't they reviving that show this season or next? Can we consider this Ms. Paice's audition for Beth?). 

Another highlight was hearing young Kelsey Fowler (one of the Janes currently in the Mary Poppins rotation) sing that anthem of baby divas everywhere, "Tomorrow" from Annie. Yes, I know what you're thinking, and you're wrong. While Ms. Fowler is still very young, she shows tremendous promise as both an actress and a singer, and she reminded the crowd of just why the song has become so famous.

Emily Skinner got to give her soprano chops a workout with "Distant Melody" from Peter Pan, and then returned in Act II to belt out a "When You're Good to Mama" that would have made Sophie Tucker...well, you know what Roxie says. Opera singer John Easterlin recreated the heyday of Broadway operettas with a soaring "Dein is Mein Ganzes Herz" from Yours In My Heart, and soprano Sarah Jane McMahon beautifully demonstrated contemporary Broadway opera with the title song from "The Light in the Piazza."

For an unexpected treat, Finian's Rainbow diva (and recent headline-grabber for her inspiring return to the stage) Terri White toned down the riffing just a bit for a pure and poignant "Mama, a Rainbow" from Minnie's Boys. Also toning down his usual comic schtick, Daugherty sang an impressively emotional "Brother, Can You Spare a Dime."

To demonstrate how dancers in the Golden Era had to be able to sing and dance with equal energy, Jeffry Denman and Jill Paice performed the "Could You Use Me?/Shall We Dance" combo from Crazy for You with some bright choreography from Denman. Denman and Marc Kudisch also offered a preview of their upcoming Gotham Comedy Club holiday gig with a sweet and charming "Have Yourself a Merry Little Christmas (though one might assume they'll be miked at Gotham...we can but hope they won't be, and will sing their Christmas songs unplugged). Kudisch and Sarah Jane McMahon also sang "My Heart is so Full of You" from The Most Happy Fella together, making the crowd nostalgic for another revival.

Other notable moments from the evening included Daniel Reichard's lovely "Come to Me, Bend to Me" from Brigadoon; Kudisch's rich "Let Things Be Like They Always Was" from Street Scene, and Lisa Howard's bright and determined "On the Other Side of the Tracks."