Review: The Mabel Mercer Foundation's 27th Annual Cabaret Convention Opens at the Rose Theater at Jazz at Lincoln Center (10/18)

The 27th Annual Cabaret Convention, presented by the Mabel Mercer Foundation, kicked off on October 18, putting forth performances by some of the most iconic cabaret artists which the arena has to offer, as well as introducing new but equally captivating talent of the art form. Hosted by KT Sullivan, a cabaret stalwart herself, the evening moved briskly through an impressive 19 performers, each of whom was accompanied by their very own pianist--- if they weren't accompanying themselves, that is.

The event, held at the majestic Rose Theater inside Jazz at Lincoln Center, also presented two awards: The Mabel Mercer Award, bestowed upon Maureen McGovern, and the Donald F. Smith Award, granted to Natalie Douglas, who did not, in fact, know ahead of time she would be receiving the honor. Both recipients, perhaps unsurprisingly, were among the evening's highlights with their astonishing performances. Starting from the tail end, McGovern actually closed out the entire evening. After graciously accepting her honor, she performed The Wizard of Oz classic, "Somewhere Over the Rainbow." A song that can often feel stale or imitable of the legendary Judy Garland, McGovern transcended such pitfalls. With no musical accompaniment, the microphone rested below her navel, she sung the song a cappella with nary an amplification other than her own chesty voice. As she reached the final yearning plea, "Why, oh why can't I?" time in the vacuous hall certainly stood still.

In a very different style, Douglas also managed to coax the room into utter captivation. Opening up Act Two, she along with Sullivan, sang "Helpless" from HAMILTON because, it seems, in 2016 that musical must be alluded to in all theater-adjacent performance. As Douglas nailed the complex rap in the middle of the R&B tune, the room was collectively impressed. That palpable wonderment was felt in a similar manner with just one other performer this evening, the impressionist Christina Bianco. Taking on the title track from CABARET, Bianco performed the nightclub staple as several of the most well-known divas of our time, both inside the theatre and beyond it. Beginning with Barbra Streisand, affecting her hand gestures and voice in a manner uncanny of Babs, she transitioned light-speed into Kristin Chenoweth, Bernadette Peters, Judy Garland, and, finally, Celine Dion. For each imitation immaculate vocals are required, and Bianco delivered, even causing a few in the room to stand in their applause.

Speaking of Miss Chenoweth, another marked moment of the evening came in the form of a young performer, Kelly McDonald, taking on "The Latte Boy," an original tune from Chenoweth's 2005 album, AS I AM. Not a showtune nor even a hit for the pint-sized Tony winner, the song is relatively unknown to audiences at large, but McDonald brought a sincerity and charm to the colloquial lyrics, and enchanted an audience that had been unfamiliar with both her song and herself, a difficult feat, as any cabaret performer can attest.

Another young performer also nearly stole the show. Making her Cabaret Convention debut, Josephine Bianco, at just 15, made the (what some would call brave) decision to take on Streisand's signature "People" from FUNNY GIRL. Standing still at the microphone in a fuchsia gown, the young talent's age did show, but so too did her prowess as a performer, and her ingénue-imbued take on the song offered a fresh perspective and, additionally, added some much-needed vitality to what was a long evening of standards.

There were highlights amongst the evening's male performers, as well. Specifically, T. Oliver Reid, who was one of the evening's first performers as he had to make a 7:30 curtain, performed an original Marc Shaiman/Scott Wittman tune, "(Let's Start) Tomorrow Tonight." Allowing Reid's buttery-smooth jazz vibrato to soar, Reid certainly made the case for this generally unknown number to work its way into the regular rotation of jazz and cabaret performers alike.

The rest of the evening's performers were all equally skilled as the aforementioned standouts, just perhaps with less captivating song selections. Robert Creighton, currently starring off-Broadway in CAGNEY, kicked off the evening with a prescient number. Despite the ugliness of the current political landscape, Canada-born Creighton urged audience members to remember the beauty of America, and sang "Give My Regards to Broadway," infused with a strangely authentic patriotism. Next was Karen Oberlin, who performed a simply lovely rendition of Randy Newman's "Losing You," followed by Barbara Fasano, singing a pleasing but rather sleepy take on a little-known Fran Landesman/Alec Wilder tune, "Photographs (Me in Love with You)."

The rest of the first act proceeded swiftly, continuing with acerbically British Stefan Bednarczyk, performing a cheeky "Don't Put Your Daughter on the Stage," followed by Stacy Sullivan's crooning of Duke Ellington's "It Don't Mean a Thing." Next on stage was Jacob Storms, whose impressive baritone on Garland's "I Happen to Like New York" was a welcomed energizer following many traditional renditions. Eric Yves Garcia provided one of the evening's most dazzling moments of musicality, his voice and piano playing equally gorgeous on "Once Upon a Summertime." Closing out the first act with a burst of Broadway dazzle was Vivian Reed, performing an energetic take on Duke Ellington's "Take the A Train," accompanied by four topnotch male dancers, each clad in vibrant ensembles matching Reed's eye catching red gown.

Act Two began with the Australian Matt Baker, who subverted expectations and took on Elvis Costello's "Almost Blue," accompanying himself with astounding piano skill, further proven by a nearly 15-minute instrumental segment. Kristoffer Lowe brought his innate southern charm to "There Will Never Be Another You," also accompanying himself finely on piano. As the evening cascaded towards its finish, a touch of sexiness was brought to the stage in the form of Kim David Smith, referred to as the "David Bowie of cabaret," and Carole J. Bufford, clad in a slinky emerald gown. Sandwiched between the two was Susan Winter, placing of which made her unremarkable song that much more so.

The evening concluded on a note of uplifted levity with the aforementioned McGovern, closing out what was as a whole a lovely tribute to cabaret by those who perform it, embraced by a room full of those who love it.

The Mabel Mercer Foundation's 27th Annual Cabaret Convention continues October 19-21 at the Rose Theater at Jazz at Lincoln Center. Click for more photos from the opening night.

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