Review: As Dynamic As Ever, BEN VEREEN Again Lights Up Feinstein's/54 Below With Unabashed Optimism

Attending a Ben Vereen show these days is like worshipping at the altar of Happy. As he displayed once again on Monday's opening night of his latest run at Feinstein's/ 54 Below, the veteran entertainer exudes palpable pleasure at being on stage while repeatedly expressing gratitude to his audience. Performance is deeply sincere. Vereen seems possessed by spirit. When not singing, eyes often closed, his body echoes the sinuous (Bob Fosse) movement that helped establish his early reputation.

With the first strains of "Magic To Do" (Stephen Schwartz from Pippin), Vereen becomes instantly familiar to his audience. As the centerpiece of that magical 1972 musical, his seductive talents won that year's Tony Award for "Best Actor in a Musical." Phrasing is more staccato than sizzling now, but out of choice not difficulty. Vereen's voice is in superb form. Long lines soar without pushing, and the signature whisper between bright opening and vibrato closing remains steadfast. Delicate high notes add luster. "Corner of the Sky" (also Pippin) sounds personal today.

The show is without thru line. There are higgledy piggledy numbers from Broadway and pop with occasional gospel coloring. Vereen leans so far out to his audience you'd think he'd end up on someone's lap, speaking directly to the people in front, but never forgetting those he can't really see in the lights. This is a theater performer who's learned the intimate art of cabaret.

Wisdom of experience is reflected in material that, for the most part, is slowed down so that lyrics can be savored and vocals controlled. A rhythmic, pop version of "Defying Gravity" (Stephen Schwartz from Wicked), for example, channels the belting to which we're accustomed into an intimate message. It becomes an anthem for John Doe, not fantasy characters.

Ballads are spellbinding. "I Don't See the Time Go By" (Charles Aznavour) emerges delicate, part of it spoken. Vereen sits on a stool with only the hand on his knee occasionally gesturing. "For Good" (Stephen Schwartz from Wicked) warms the entire club. Sighs are heard. "My Funny Valentine" (Richard Rodgers/ Lorenz Hart) is accompanied only by Mike Boone on heartstring bass. The vocalist's eyes are lowered. As Boone executes his solo, Vereen sighs, "Yes." 'Gorgeous.

Single instrument accompaniment is also employed for a rendition of "Misty" (Erroll Garner), with drummer Marc Dicianni, in which percussion threatens to overpower, and for "At Last" (Mack Gordon/ Harry Warren) with pianist Dave Loeb, whose piano solo is perfectly embellished mood with a nod to jazz. You smiled, Vereen sings, then mugs an exaggerated grin, and the spell is cast. That mugging is peppered throughout the evening is a puzzle. It's as if Vereen doesn't have enough faith in the performance to capture an audience clearly on his side. Nor do I understand repeatedly calling out support for the arts simply it seems to stimulate applause. The evening stands proud on it's own.

A tribute to Sammy David Jr. ("On whose shoulders I stand" Vereen tells us) includes the Leslie Bricusse/Anthony Newley songs, "The Candy Man" and "What Kind of Fool Am I?" and "Mr. Bo Jangles" (Jerry Jeff Walker), all of which are captivating.

An up tempo, calypso interpretation of 'Beautiful Day" through which Vereen bounces, pivots, fist bumps, sashays, and raises his eyebrows above a face-wide grin, is charming and infectious. The only misstep is a medley from Jesus Christ Superstar and Hair that's dense, loud, and unmelodic. Otherwise, Ben Vereen's show will send you into the night with a spring in your step.

Ben Vereen continues his current run at Feinstein's/54Below on from January 27-30, all shows at 7 pm.

To post a comment, you must register and login.