BWW Reviews: The Crackerjack Show '11 O'Clock Numbers' Triumphantly Returns -- This Time at 7 O'Clock at Birdland

Five years ago, Michael Feinstein approached ubiquitous producer Scott Siegel about "coming up with a club act" for Feinstein's at the Loews Regency. The title 11 O'Clock Numbers at 11 O'Clock was Siegel's eureka moment. "Broadway shows used to start at 8:30," Siegel reminded us. "The 11 o'clock number was meant to shake an audience awake in time to enjoy the end of a show."

Every Thursday night until its host venue sadly shuttered in January 2013, the series packed'm in for soaring voices and musical bonhomie. Since then, this particular collaboration of vocalists--Scott Coulter, Christina Bianco, and Carole J. Bufford--have twice appeared in the Broadway at Birdland series, but now the 11 O'Clock numbers are featured at 7 O'Clock. Not only does the concept hold up, but also its artists having matured, may even be better.

Wrapped in Musical Director John Fischer's terrifically nuanced piano arrangements (iconic songs fresher for evocative, minimalist approach and deft musicianship) and Scott Coulter's vocal treatment (making excellent use of not only harmony, but creative counterbalance), Christina Bianco, Carole J. Bufford, and Coulter himself (doubling as amusing master of ceremonies), elicited cheers.

Christina Bianco (right) offered "Gimme Gimme" (Thoroughly Modern Millie), which began with a hint of ragtime, then as its temperature rose, became suggestive honky-tonk. Selective gestures punctuated her infectious performance. A rendition of "As Long As He Needs Me" (Oliver) captured sympathy in the first four bars. Bianco plowed emotion into the lyric wisely without opening throttle until the last chorus when declaration had its greatest effect. A signature "Cabaret" (Cabaret) during which she mimics a series of familiar divas reflects mostly spot on phrasing and inflection.

Carole J. Bufford (left) practically spits "There Are Worse Things I Could Do" as tough girl Rizzo from Grease. Consonants could draw blood. The performer was an epitome of 1960s sex and rock n'roll. What we glimpse here erupted for her anthem-like "The Winner Takes It All" (Mama Mia), supported by background vocals and an undulating piano. Bufford had a wrenching sob in her voice. She spread her feet ready for battle and later, stamped. Her arms extended, palms opened and then rose around her face as if autonomous. The artist might spontaneously combust. We felt the lyric viscerally.

Scott Coulter (right) offered a sweet version of "Tomorrow" (Annie) at the upper end of his tenor, presenting his heart on his sleeve. The performer was evangelistically hopeful. An interpretation of "For Good" (Wicked) was beautifully calibrated, stirring. Vocals appeared to arise and take wing expanding into the warp and woof of the room, warming. Coulter also performed the bouncy duet "You're Just in Love" (Call Me Madam) with Bufford as cutely expressive as his partner. The sound was swell, camaraderie palpably affectionate.

The trio delivered several wonderfully formulated numbers including an animated, swingy "Manhattan Madness" (Face the Music), a buoyant "Sing For Your Supper" (The Boys From Syracuse), in which vocal differences blend and play, and an unplugged (no microphones) rendition of "What I Did For Love" (Chorus Line), which felt like a classical choral number--and sort of is-employing just enough synchronized movement. Coulter brought us briefly up to date on the cast's accomplishments since the origin of the show and thanked the audience for the privilege of being able to lead their musical lives.

11 O'Clock Numbers at 7'O Clock
Conceived and Directed by Scott Siegel
Birdland: 315 West 44th St.
Venue Calendar http://www.birdlandjazz.com/calendar/

Photos by Kevin Alvey.

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