Ricky Pope - Page 7

What do you get when you combine the pianistic finesse of Michael Feinstein, the smooth phrasing of Tony Bennett, and the bawdy wit of Bette Midler? You get Michael McAssey, who for 40 years has reigned as the clown prince of New York cabaret, and has enchanted as one of its most talented troubadours. He calls what he does 'schtick.' But that's undervaluing his unique blend of beautiful ballad singing and standup, or rather 'sit down' comedy.

For Andrew Barth Feldman, the Disney parks were a metaphor for an escape from a life that has seen extraordinary highs and tragic lows. There has been a lot of incident in his brief nineteen years, and through all the change, Disney has been the glue that held it together. In particular, Disney was a special bond to his mother, whom he lost, in true Disney fashion, at a young age. The show opens with the Sherman Brothers song from The Carousel of Progress, “There’s a Great Big Beautiful Tomorrow” and it leads to the central premise of the show: how do you build a world based on the future when the future is constantly changing? This is definitely not kid stuff. That is an exceedingly profound metaphor for life. Out of the mouth of babes.

If you want to see a rarely performed musical from the past you have two options. You can either wait for the folks at Encores to get around to the show you love, or you can visit the Lincoln Center Library. Alternatively, you can turn to cabaret staple Ricky Ritzel, who is a one-man Lincoln Center Library. Friday night he unveiled another in his series of RICKY RITZEL'S BROADWAY concerts at Don't Tell Mama. He generously gives you not one, but three musicals from the past. This month's edition of RICKY RITZEL'S BROADWAY celebrates Bright Star, The New Moon, and Dames at Sea.

Britton Smith is a force to be reckoned with. He is a tornado of talent and energy grounded in self-love that expands ever outward to embrace all of his audience. Britton & the Sting is a self-described “funk liberation band.” But that label is not broad enough. They are an all-inclusive advocacy collective that encourages every member of its audience to be its highest self. That sounds like touchy-feely nonsense, but in the case of Britton & the Sting, it is one hundred percent gospel truth. Everyone left their show feeling better about themselves and thinking they can achieve whatever they set their mind to. Why? Because Britton told us so.

There’s an old adage that warns that you should never meet your childhood heroes because they will inevitably be disappointing. I’m happy to report that the old adage is dead wrong. Not only was Andrea McArdle not a disappointment, she was exactly right. She was in fantastic voice, she looked like a million bucks, and she sang every single song you wanted her to sing, including THAT one. But that song is only the tip of the iceberg in a long Broadway career that has been full of surprises. Her show tonight reflected that and had a few surprises of its own.

There are some performers who are blessed with an ineffable quality called “stage presence.” They enter a stage and instantly command your attention, even if they are not really doing much. It is more than looks or charisma or talent. It’s as if they are able to alter the very air in a room simply by being there. Singer/songwriter Anthony Nunziata is such a performer. His self-titled show which opened tonight at The Green Room 42 was 70 minutes of great songwriting and compelling storytelling. He has an angelic tenor voice that is capable of blues, country, pop, and Broadway colors.

AMERICA’S SWEETHEARTS is a bit of an organization. The group consists of eleven women but only three perform at any one performance. Tonight’s trio consisted of group founder Carly Kincannon, Amanda Lavergne (Annie, The People in the Picture, ) and Kristen Michelle (Once Upon a Mattress.) Their show is a bundle of joy that makes you want to tap your toes and dance in the aisles. Their energy is infectious. They even managed a costume change going from modified WACS uniforms to slinky burgundy sequin gowns.

Karen Oberlin (Our Sinatra) is not only a delicious singer blessed with great musical sensitivity and excellent diction, but she is also a wonderfully passionate actor who can bring a wide range of emotions to every well-formed phrase. Some singers take great care to make sure the emotions land on the audience. Oberlin has a much lighter touch. She has the gift of making sure the emotions land on her and then allowing the audience to come to her. It's a wonderful thing to watch a singer stop performing and practice the much more difficult art of just being. Ms. Oberlin makes all the hard work look very simple.

Thanks to the successful vaccines and the re-opening of clubs and cabaret rooms, we are starting to see a slow return to the normality of gathering to hear the work of fellow artists. I was privileged to be at such a gathering this afternoon when I attended the PANGEA SUNDAY OPEN MIC & JAZZ BRUNCH. Jazz Brunch was created before the pandemic by multi-award-winning cabaret artist, Sue Matsuki and her awesome musical director and composer, Gregory Toroian. And it is back with a bang, playing to a sold-out house.

Travis Moser is a gifted storyteller as well as an excellent vocalist, as he proved many times in the evening. Most notably in “The Moon’s a Harsh Mistress. It is a very poetic lyric that he delivered with great emotion. He was also particularly effective in Jimmy Webb’s “Still Within the Sound of My Voice,” which opened this show. He found a wistful energy in “Adios” and brought some world-weariness to “I”m Blowing Away.” I especially enjoyed his reading of “What’ll I Do?,” the Irving Berlin tune from Ronstadt’s popular “What’s New? album.

It’s hard to pinpoint the proper musical label for Zen Brother. The closest I can come would be to call their style ‘“jazz fusion.”  Although what the jazz is being fused with changes from piece to piece. The set I heard contained influences from salsa, funk, R & B, swing, and New Age. And despite their moniker, zen is not really accurate. They are exciting and lively and full of energy.

Aaron Lee Battle and Jon Weber are a testament to one of the things that make New York such an amazing city: the artists who call this place home are working at the top of their game and are always moving the goalpost toward something finer, something more challenging, and something more beautiful.

“Gay country singer' are not always words that fit neatly together, but Falduto, also a certified life coach, has integrated all the parts of that label quite nicely. His act is not only about good music, it is about being empowered to be your highest self.

NICOLAS KING: HINDSIGHT IS 2020 was 70 minutes of awesome jazz technique, great storytelling, and honest showmanship. He acknowledges his musical influences with love and gratitude: Mel Tormé, Charles Aznavour, Fred Astaire, Carol Burnett, and most especially his mentor, Liza Minnelli. Their work shows up in his style, but in the end, his style is all his own.

But for all the goody-two-shoes exterior, there’s a devilish glint behind the eyes that hints at something darker. He only lets it out once in a while, but it’s exciting when he does. Sikes is known for his shows honoring Judy Garland and Liza Minnelli. He brings much of their full-throated, show-biz savvy his own performance style. 

Natalie Joy Johnson sent the crowd home happy from The Green Room 42. Happy and hysterical.

John Zisa, an alumnus of American Idol, has deep roots in gospel and R&B and this album is steeped in those traditions, even though the songs are mostly covers of pop tunes. What unifies the 13 tracks is a longing for connection and a belief that love, while often elusive, is our best hope for dealing with the trials of life. It is all filtered through a laid-back style that is introspective and thought-provoking.

I’m not sure if Farah Alvin intended it, but her show is not only about the music of the ’70s. It is also about all kinds of out-of-control love. The sort of obsessive passion that fueled the cynical Watergate decade. The music was theatrical. This makes it a perfect fit for Farah Alvin’s considerable acting skills.

Eden Espinosa uses the word “vibe” a lot in her casual banter. And her show does feel a lot like vibing in her living room. It’s not every singer that could thrive under those conditions, but Espinosa is perfectly at home. She has the hallmark of all great singers. She is able to make you feel as if she is singing each lyric to you and you alone.

Alice Ripley’s gift as a performer has always been to lead with vulnerability. She doesn’t so much sing songs as she inhabits them. There is always a rich inner life going on. She’s one of the most authentic performers you’re likely to see because she's one of the most authentic humans you’re likely to find.