Review: The First Annual International Cabaret Festival's Hall of Fame Inductions Pack New York's Metropolitan Room

The brainchild of Metropolitan Room managing partner Bernie Furshpan, his General Manager Joseph Macchia, and Cabaret Scenes Magazine Publisher Peter Leavy, New York's first International Cabaret Festival (February 17-21) debuted Wednesday night at the Met Room with performances and inductions into the newly established Cabaret Hall of Fame (an actual location for Hall and its memorabilia to be determined at a later date). Clubs hosting this year's festival include The Metropolitan Room, Don't Tell Mama, The Duplex, Feinstein's/54 Below, Iridium, Joe's Pub, and Stage 72 (formerly The Triad).

Candidates for the honor (some posthumous) were selected by representatives of various cabaret clubs, including Furshpan and Macchia (Metropolitan Room), Scott Barbarino (Iridium), Sidney Myer (Don't Tell Mama), Thomas Honeck (The Triad), Keith Sherman (Feinstein's/54 Below), and Shanta Thake (Joe's Pub), as well as Leavy and Cabaret Scenes Editor in Chief Frank Dain. Each legend (or close representative) was awarded a certificate and microphone trophy. Those unable to be present were remembered on nostalgic film or video clips.

"For some people," Dain proffered, "Cabaret means either a gentleman's club or a movie starring Liza Minnelli" (Unfortunately true). In an effort to spread a more authentic idea of the art--to promote and preserve as well as entertain--all shows during the five-day International Cabaret Festival will be streamed live, then archived on YouTube. https://www.youtube.com/user/MetropolitanRoom

After opening the show with an easy jazz instrumental of Cole Porter's "Night and Day" by Musical Director/pianist Jeff Franzel and Jared Egan on bass, the ever bubbly Anita Gillette (whose show Sin Twisters II with Penny Fuller plays Feinstein's/54 Below March 2) performed three songs (with Paul Greenwood on piano) including a tandem "Can't Be Bothered Now"/"Happy Go Lucky" (George & Ira Gershwin) that jointly packaged, could raise the spirits of our planet. She also regaled us with an amusing anecdote about a film role with Richard Gere and spoke warmly of honorees, Steve Ross and the late Julie Wilson.

While Hall of Fame inductees Barbara Carroll (under the weather) and Marilyn Maye (performing out of town) were not present, both sent gracious thanks. Carroll, a great pianist who broke down gender barriers, first used B. Carroll as her signature so that contractors would not refuse to hire a woman. The first girl ever to play bebop, she had lengthy stints at The Carlyle and The Algonquin and continues to play with skill and finesse. Maye, one of our finest and most ubiquitous vocal artists, was a musical theater actress before she conquered the world of cabaret. As Johnny Carson's favorite, she holds the record for the most performances of a singer during his term at the helm of The Tonight Show.

Actor/vocalist Jean Brassard sang a jaunty "Cest Si Bon" (Henri Betti/Andre Hornez) in French and English and a song for which he translated--i.e. to which he wrote the lyric. (If you know anything about writing lyrics, you'll agree that lilt, poetry, and integrity require more than simply translation.) "Edith" (Michael Legrand/Jean Drejac), an ode to Piaf, was stirring, direct, and very much in the tradition of Charles Aznavour and Jacquel Brel against whose work it would hold up. Brassard's vocal did both the song and the lady justice. It's Edith on the radio/an old recording in mono/ the song is one of Marguerite's . . . (Marguerite Monnot, Piaf's accompanist and composer of many her songs.)

Songwriter David Friedman, keeper of the flame of all things Nancy LaMott (with whom he had a special musical and personal relationship) accepted that artist's award. LaMott was an infectiously warm vocal stylist who tragically died of cancer in 1995, just as she was emerging one of cabaret's bright lights. Friedman has successfully crowd-funded the release of a new CD, Nancy LaMott Sings David Zippel, with more to follow in a projected Collectors' Series. The CD can be purchased here.

The Hall of Fame Award for the legendary Bobby Short was accepted by his longtime friend and traveling companion, Bob Nahas. The expressive and expansive Short died in 2005. Best known for his interpretation of songwriters of the first half of the 20th century, championing black composers, and sophisticated interpretation, the honoree, Nahas commented, "Left a piano crying at 77th Street." (The Café Carlyle, where Short held forth more than 35 years.)

Honoree Steve Ross cited Bobby Short as his "avatar," calling him "ineffable." The attribution is one by which Short would surely be flattered, and is an adjective one Ross himself deserves. Adding vocals to his piano repertoire in Manhattan at such as Ted Hook's Backstage and The Algonquin's Oak Room, Ross's has played six continents. Nobody does elegant, eloquent, or wry better. The artist offered a contemporary blues and an extremely moving rendition of "Whatever Time There Is" (David Rogers/ Charles Strouse from Charlie and Algernon).

A deftly arranged pairing of "Nature Boy" (Eden Ahbez) and "Padam Padam" (Henri Contet/Norbert Glanzberg) was performed by Frans Bloem, who puts his heart into lyrics. The first song was enhanced by the vocalist's accent, the second made imperative by verses spoken and sung with equal passion. Charles Aznavour's "I Have Lived" followed like an anthem.

Her friend and Iridium manager Scott Barbarino accepted the Hall of Fame Award for Jan Wallman, who died in 2015. Wallman managed and owned some of the most welcoming cabaret nightspots in New York, in the process introducing such performers at Barbra Streisand and Woody Allen. A champion of The American Songbook and a purist with lyrics, Wallman also helped many artists get onto late night television.

The Award for honoree Julie Wilson, another 2015 loss, was accepted by Deborah Lynn Damp, the beloved entertainer's companion during her last three indomitable years. Like Marilyn Maye, the sinuous Wilson was a musical theater actress as well as a vibrant nightclub vocalist. Her support of young performers is as legendary as the lady's unabated attendance of show after show after show. Wilson's spirit and gardenia are missed. Damp read a grateful letter from Wilson's sister and acknowledged Peter and Linda Hansen (with whom she was seated), who annually fund The Mabel Mercer Foundation's Julie Wilson Award.

Performer JayCee Driesson (with her Musical Director Lydia Sabosto on piano) gave us a pop song of her own authorship and a lung-powered rendition of "This Is The Moment" (Frank Wildhorn/Leslie Bricusse). The team of Alexandra Foucard and David Sisco (piano) offered strident versions of "Don't Rain On My Parade" (Bob Merrill/Jule Styne)--oddly in Haitian-tinged French as well as English, and "All of Me" (Gerald Marks/ Seymour Simons).

The last Hall of Fame inductee, Andrea Marcovicci, can arguably be called the" Queen of The Algonquin's iconic Oak Room." The actress/vocalist performed there for 25 years, held a record for its longest run, and was the room's last artist before it became a cookie cutter business hotel lobby and enlarged bar.

Marcovicci shared a charming anecdote about her own young, swelled head, and acknowledged she wouldn't be here but for Donald Smith (creator of The Mabel Mercer Foundation), and performed three eminently appropriate numbers, including a heartfelt version of "On Such a Night As This" (Marshall Barer/High Martin) and an interpretation of "The Kind of Love You Never Recover From" (Christine Lavin) that evoked a few tears and many grasped hands.

"I believe cabaret is an art form," Marcovicci said speaking for most of those assembled. "This is my mission and my calling. Thank you for your ears, your eyes, your hearts, and your loyalty." A splendid thought with which to end the gala evening.

Photos By Maryann Lopinto

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