Stephen Hanks - Page 7

It seemed only natural that the bodacious British cabaret chanteuse Barb Jungr would bring a new show to New York that could be staged in the small theater environment of 59E59 (December 22-29). While Ms. Jungr's forays definitely are in the cabaret mold, they are also part theater-style performance art. In fact, Jungr is a crossover artist and genre hybrid on a number of levels. She's a jazzy and sultry-voice singer with a healthy dose of a pop sound. She's not a comedian but can be a cheeky raconteur bordering on stream of consciousness. She's a creative interpreter of song lyrics who can also honor the original intent of the songwriter at the same time. Barb Jungr has become an internationally-known performer who is also the quintessential cabaret artist.

Last December, after I posted my list of the Best Cabaret Performers of 2012, I followed up my original 'listmania' with a column that served as a way to include some 'honorable mentions,' basically a recognition of other memorable shows and performances of songs that were striking, unique, and/or original that year. The column received a positive response so I thought I'd wheel it out again this year. So as the hours tick away on 2013 and we anticipate the coming of a new year, here is an addendum to the 2013 New York Cabaret Performers of the Year--a totally random list of 30 Honorable Mentions of the 'Best' and 'Most' in Cabaret for 2013 . . . mainly because I can and it's fun. Enjoy and Happy New Year!

n this space back in mid-July, BroadwayWorld.com New York cabaret reviewer Stephen Hanks offered up his list of the Best New York Cabaret Performances for the first half of 2013. Now, here is his list of the performers he feels were the best and most exciting in cabaret this year.

In 1969, at age 16, Bronx-born Karen Wyman became a singing sensation appearing on TV with Dean Martin, The Ed Sullivan Show, and The Tonight Show, and cutting two albums. A few years later she suddenly quit singing professionally to raise a family. Now, she's back and as she proved with her new show at the Metropolitan Room, she's as good as ever.

Our intrepid cabaret columnist/reviewer Stephen Hanks catches up on some reviews of fall 2013 shows, including Mary Foster Conklin's BroadwayWorld.com Award nominated tribute to Fran Landesman, solo shows from Bernard Dotson, Gary Crawford, and Lauren Glazer, and a duo show from Alison Nusbaum and Jackie Kristel.

Having written a plethora of words about Marissa Mulder over the past couple of years, I had planned on relegating a review of her mid-November, two-show run at the Cafe Carlyle to a relatively short critique in my seasonal compilation column (due to post a day or two or three before Santa arrives, for those keeping score at home). But once I got started I went way over my self-imposed word count for such things and decided it should be broken out into this stand-alone review. Speaking of 'breakout,' although the first known use of the phrase 'breakout year' came 35 years ago, it has become the standard expression in sports or entertainment when referring to someone who has become a sudden or smashing success, especially in comparison to past efforts. If anyone in the world of New York cabaret could be said to have had a 'breakout year' in 2013, it would have to be Marissa Mulder. And this angelic young woman-in voice, looks, and personality-hasn't even hit 30 yet.

The not-for-profit musical theater development group Manhattan Musical Theatre Lab (formerly Musical Mondays Theatre Lab) has announced that the third presentation of its 2013-2014 season is the new musical, WATER FROM THE MOON, written by MAC Award Winning Cabaret Performer Rosemary Loar and her husband Robert W. Atwood. In fall 2011, MMTL presented the Loar/Atwood musical Spoolie Girl, which was subsequently nominated for 11 'Best of the Fest' awards at the 2012 Midtown International Theatre Festival, including winning the award for 'Outstanding Music and Lyrics' and a nomination for 'Best Production of a Musical.'

The not-for-profit musical theater development group Manhattan Musical Theatre Lab (formerly Musical Mondays Theatre Lab) has announced that the second show of its 2013-2014 season is the musical comedy, THE CURSE OF BATVIA. This original and seriously silly musical comedy concerns a missing dog, a missing book of spells from a far-off, vaguely Eastern European country, and four characters on the loose in an English manor house, two of whom need to find the counter spell before an ancient, lycanthropic curse comes true forever.

Ann Hampton Callaway's latest show in late November at 54 Below—her new home away from home—was another one of those slam dunk entertainments she's produced in the past year or so that clearly have put her near the top, if not at the very top, of the female cabaret performer depth chart. Listen, not counting the Broadway stars like Patti LuPone (who are now doing cabaret, mainly at 54 Below), or the top-notch jazz singers like Jane Monheit, you be hard-pressed to think of any major veteran cabaret singer in the country—and that includes Barbara Cook, Marilyn Maye, Andrea Marcovicci, and Amanda McBroom—who are plying the trade better these days than Ann Hampton Callaway.

If you're wondering whether or not 2013 was a fantastic year for the cabaret art form in New York, all you have to do is scan the amazing list of nominees for this year's BroadwayWorld New York Cabaret Awards and you'll know it was one of the best ever. So now it's time for all you cabaret performers and fans to vote for the best singers, musicians, songs, and shows of the year. Voting will continue until Sunday night January 5 and the winners will be announced later that week. We hope that all the winners will be able to perform in the Award show on Sunday night February 23 at Joe's Pub.

The National Theatre Conference (NTC), an organization founded in 1925 that meets annually in New York to discuss relevant issues in today's theatre community and to celebrate outstanding achievement in the American theatre, has named the recipients of its 2013 awards. Playwright Lynn Nottage has been named Person of the Year; the Oregon Shakespeare Festival, under the artistic direction of Bill Rauch, is the recipient of the Theatre of the Year Award; and playwright Jackie Sibblies Drury has been selected as the winner of the Barrie and Bernice Stavis Playwright Award. All three will be honored and presented with their awards and hold discussions with the membership at The Players club during NTC's annual meeting in New York, December 6-8, 2013.

It may not be like getting a gift on every one of the 12 Days of Christmas, but for cabaret and musical theater lovers, the 5th Annual Urban Stages Winter Rhythms series--presented over a dozen nights at the not-for-profit Off-Broadway theatre on 259 West 30th Street--could be the closest thing to opening a daily present by the tree. From December 3-15, dozens of singers and musicians will perform in an eclectic mix of a dozen shows plus late night and matinee 'extras,' with all the proceeds from ticket sales dedicated to the Urban Stages 'On Tour Outreach Program that brings more than 200 free multicultural theater and music programs to elementary and middle school age children and their families in libraries and schools throughout NYC five boroughs. Three years ago, Urban Stages Artistic Director Frances Hill brought in MAC and Bistro award-winning director, lyricist and producer Peter Napolitano to produce the Winter Rhythms program and broaden its scope.BroadwayWorld.com Cabaret Columnist Stephen Hanks recently caught up with the Sol Hurok of Urban Stages to learn how Napolitano has helped Winter Rhythms evolve and to get some insights into this year's program.

The not-for-profit musical theater development group Manhattan Musical Theatre Lab (formerly Musical Mondays Theatre Lab) has announced that the second show of its 2013-2014 season is the musical comedy, THE CURSE OF BATVIA. This original and seriously silly musical comedy concerns a missing dog, a missing book of spells from a far-off, vaguely Eastern European country, and four characters on the loose in an English manor house, two of whom need to find the counter spell before an ancient, lycanthropic curse comes true forever.

While it was billed as a presentation celebrating the release of his 13-song CD, Tales From the Bonus Round, and his 60th birthday, Steven Schalchlin's recent show at the Metropolitan Room was so much more than that. It was also one about fear, fortitude, anxiety, anguish, compassion, courage, and love, all expressed in poetic and often clever lyrics and melodies ranging from uplifting gospel to Billy Joel-sounding mid-tempo pop to sensitive ballads, many colored with musical theater undertones. At their core, most of the songs conveyed what Schalchlin has thought, felt and experienced since early 1993, when he was diagnosed with AIDS, launched one of the first internet diaries/blogs (in early 1996), stared death in the face on a daily basis, took an experimental AIDS drug (Crixivan), and ultimately regained his health and career. When you listen to his songs, it's not hard to believe Schalchlin when he claims that during those scary days writing music and the “healing properties of piano vibrations” also helped save his life, and the 17 years since are what he calls his “Bonus Round.”

It turns out that when it came to Tanya Moberly cabaret shows and this reviewer, the third time was the charm. After being blown away by Moberly's powerful voice and stage presence when I first caught her one-song performances at the Sunday Salon Open Mics three years ago, I wasn't crazy about either of her full-blown cabaret shows the past two years (Tanya Moberly Sings Di Franco/Tanya Moberly Sings Jonatha Brooke in 2011 and Tanya Lorraine Moberly Sings Barbra Joan Streisand in 2012—in spite of her receiving MAC and BroadwayWorld.com Best Female Vocalist nominations for the latter). But her new show that opened this past Friday and Saturday nights at Don't Tell Mama, I Love New York Songwriters, pressed many of my cabaret buttons—in a good way. While there were still some minor flaws—owing to a certain stubbornness in her approach to a cabaret show—this eclectic set of original songs written by some of the city's best “unknown” composers was consistently entertaining. In this particular show, Ms. Moberly was Tanya Terrific.

As a prelude to playing three shows in Vermont on November 9 and 10 that will celebrate the 25th Anniversary of The Vermont Pub & Brewery (the state's first Brewpub), New York-based guitarists Sean Harkness (right in photo) and Brian Camelio (center in photo) will be joined by New Orleanian Chip Wilson (left in photo) for a New York show tonight, November 5 at Stage 72 at 9:30.

With her most recent show at Stage 72, 'Let Me Sing and I'm Happy,' the New York cabaret community should realize that talented singer Corinna Sowers-Adler has indeed “catapulted” herself into the elite group of young performers and landed very comfortably in the mix.

Some people, especially some cabaret reviewers and cabaret fans, might think it's lazy or a copout or both for a performer to keep recycling previous shows. But when the Café Carlyle comes a'callin' you: A) May not have enough time to create a totally new show or B) Want to pitch the big game with your best stuff or C) All of the above. Since I only started reviewing cabaret in late 2010, I missed the Laurie Beechman Theatre debut of Jennifer Sheehan's 2009 show You Made Me Love You: Celebrating 100 Years of the Great American Songbook, and missed it again when she brought it to the Metropolitan Room in 2010. So I, for one, am not complaining that she dusted off the critically praised set again (with the new slug 'Timeless Classics and New Treasures' from said Songbook show) for her debut last Saturday night at the prestigious Café Carlyle. Sheehan may have been booked for the room's new 10:45 late night series and not the prime time slot, but at least the Carlyle is giving opportunities to exciting young cabaret performers like Sheehan (and Marissa Mulder, who will make her debut at the room on November 7). With You Made Me Love You, Sheehan made everything old new again-at least for me.

Today, October 24, the not-for-profit development group Musical Mondays Theatre Lab will launch its 14th season with a new name and a very heavy organizational heart. This summer, after years of presenting promising new musicals at the Snapple Theatre Center on Thursdays (because that was the only slot that was open in the schedule), the MMTL Board of Directors voted to change the organization's name to Manhattan Musical Theatre Lab (thereby retaining the corporate initials) with the vote and complete blessing of the group's founder and Co-Artistic Director Richard 'Bick' Goss. Less than a month later, Goss died from complications of Parkinson's disease. The director, choreographer and former Bob Fosse dancer was 75.

Two years ago I heard the relatively new “Marquee Five” perform a show at the Laurie Beechman Theatre called “8-Track Throwback,” which was a five part harmony homage to the music of the 1960s and '70s. They hadn't gotten even halfway through their set when I realized that in Marquee Five I'd heard my Manhattan Transfer for the new millennium. Marquee Five's style is less jazzy and more pop than the Transfer, and their sound is infused with the tones of a co-ed barbershop quintet, Broadway belting, and holiday season caroling. Marquee Five's new show last Saturday night at 54 Below did nothing to push me off their bandwagon. In Broadway By the Letter: Act One (a set of songs representing the first half of the alphabet), this fabulous five-some once again delivered delicious harmonies on a variety of song styles, standout individual performances, and intricate yet accessible vocal arrangements.