BWW Reviews: MARK NADLER's 'Addicted To The Spotlight' at 54 Below Showcases Abundant Talent, Cleverly Framed

When Mark Nadler, singing the iconic Irving Berlin song and Al Jolson standard "Let Me Sing and I'm Happy," strolls from the back of 54 Below to his rightful place center stage (accompanied by Nick Russo on banjo), he seems, in all respects, a jaunty, debonair thespian. The song is light, unembellished, infectious. What you're watching in truth is a state of the art ballistic missile unerringly headed for its target.

"My name is Mark and I'm a spotlightaholic." Tonight Nadler celebrates two "out of control" spotlightaholics--Danny Kaye and Al Jolson--both of whom put themselves (and kept themselves) in front of audiences every available moment. (The artist designates himself as a "functional" sufferer of the compulsion.) Memorable anecdotes enlighten and entertain. "In the spirit of Kaye and Jolson, however, this show is all about ME." Four decades in, Nadler calls show business his religion. Judging by ensuing narrative, his zealous devotion is, in context, worthy of sainthood.

The splendid "Maladjusted Jester" (written by Sylvia Fine for husband Danny Kaye) says it all: "Your majesty, I have a confession/My secret I must now betray/I was not a born fool/It took work to get this way . . . " Nadler plays, sings, stands, stamps, mugs a bit, and rolls his r' s. He inserts "O Sole Mio" and a parenthesis of Fine's "Tchaikovsky (and other Russians)" in the middle of the number. (The performer does a spectacular version of this himself.)

Work?! This is an indefatigable perfectionist. If Nadler misses a lyric, I assure you, he's harder on himself than any critic would be. Arrangements are meticulous, historical patter deeply researched, song lead-ins clever, backup uber-rehearsed. Selective deployment of both humor and grief (yes, the gamut is that wide tonight), meant to show heartache and sacrifice in tandem with reward, is scrupulous.

During Lady in the Dark, Kaye would slowly eat a banana onstage in retaliation to Gertrude Lawrence's upstaging when he held forth. Jolson once had an elephant fired because it got too much applause. There's no doubt in my mind Nadler could hold his own against these show-boaters. The thing about all of them, the factor that allowed unconstrained if infuriating excess (at least to other actors and perhaps bookers), was formidable talent. God knows, Nadler has that. He plays piano (and I mean, plays) arranges, writes, sings, dances (a full tap routine tonight), acts and employs schtick like a vaudevillian on the Orpheum Circuit. Shows are original.

In a section of Jolson tunes, a propulsive, musical "Swanee" is followed in quick succession by "Is It True What They Say About Dixie?" (with breezy, vocal back-up from musicians Nick Russo and Tom Hubbard), and "I've Gotta Get Back to New York" (from the 1933 film Hallelujah, I'm a Bum.) Ah, "da smell of da Bron-ox." Nadler then circles with a hybrid "Mammy" lyric "I'd walk a million miles for--crowds and turnstiles . . . " We hear about his spinning an encounter with Gennifer Flowers--at Maxim's in Paris, no less--into coverage of his own show and a benefit at The Metropolitan Opera when Jolson interrupts deafening applause for Enrico Caruso assuring the startled audience, "You ain't heard nothing yet" before commandeering the spotlight.

Three unexpected song takes are: Richard Rodgers/Lorenz Hart's "You Are Too Beautiful" (from Hallelujah, I'm a Bum) which comes on the heels of a story about romantic betrayal, replacing infatuation with sorrow and resignation, recoloring the meaning: "Anywhere I Wander" (from Hans Christian Andersen) which begins acapella and sustains quiet yearning without getting histrionic; and "No Business Like Show Business" emerging with easy, mid-tempo sway--no brass, no flash--sincere.

"You're a Latin from Manhattan" (which Jolson sang during his then-wife Ruby Keeler's hoofing in the film "Go Into Your Dance") aptly arrives a Charo-like, Hollywood tango. Shoulders move rhythmically, eyebrows rise, our hips--on café seats--shift in time. If only Nadler had a head of hair to toss. An egg and maraca embellish. The performer's having fun; we're having fun. "Go Into Your Dance" is well etched, Depression-Era happy. Nadler gets the pulse of these.

When Gene Kelly made a guest appearance on The Danny Kaye Show, Kaye suggested Kelly could dance to anything. "What," asked Kelly," is the most beautiful thing you know?" "My linguini recipe," deadpanned Kaye who was, in fact, an expert chef. Kelly tap-danced to the recitation Nadler now repeats. (Jill Kenney--Choreography) What he lacks in lightness of foot, he makes up for in dexterity and finesse. Mobility along the short-lipped stage is impressive; his glee is palpable.

An unassuming highpoint is the duet medley of "Lullaby in Ragtime" and "Goodnight" from Kaye's wonderful film The Five Pennies. Nadler sings one song, Russo and Hubbard the other. The number is sweet and evocative. "When the Saints Go Marching In" as performed in the film by Kaye with Louis Armstrong, ends the evening on an exuberant high note.

Though the show is lengthy and unconstrained, the artist's signature, titanic moxie is turned down a notch. High wattage stops just short of juggernaut. The choice eminently serves. Even under the umbrella theme, however, Nadler's self promotion feels strained. Frankly wincing the-show-must-go-on stories describe Kaye, Jolson, and Nadler. Did I say Nadler?

Whatever. Mark Nadler's artistry can be dizzying. The show is juicy and engrossing. Take the ride. It's a rush.

Photos by Stephen Sorokoff

Addicted To The Spotlight
Mark Nadler-Vocals
Nick Russo-Guitar, Banjo; Tom Hubbard-Bass
54 Below 254 West 54th St. http://54below.com/
February 18, 2015
Next: March 11, 25 & April 15

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