Photo Coverage: Melissa Manchester Brings I HAPPEN TO LIKE NEW YORK to Feinstein's/54 Below

After a triumphant debut at Feinstein's/54 Below last March, Melissa Manchester has returned with a brand new show, and Broadwayworld was on the scene to capture the evening. Check out photos below!

Her last engagement at Feinstein's/54 Below inspired The New York Times to write, "Frisky and ebullient... Manchester effused the high spirits of someone who had shed a heavy weight and was still dizzy with her freedom and sense of possibility... her rugged, chesty voice is as formidable as ever!"

In "I Happen To Like New York," Melissa will pay tribute to one of her New York musical torch bearers, Laura Nyro. Melissa will be recounting the New York locations from her own early career that inspired the writing (and performing) of her classic songs over the years. She will also debut material from the newest theatrical production she is co-writing with Sharon Vaughn and Rupert Holmes, Sweet Potato Queens: THE MUSICAL. The full production of the show will have its world premiere at Theatre Under The Stars (TUTS) in Houston in March.

Manchester's career is remarkable not only for its longevity and accomplishments, but for its versatility. Following her stint as a founding member of Bette Midler's Harlettes, Manchester's tremendously successful solo career brought her critical and commercial acclaim. The "Midnight Blue" singer received her first Grammy nomination for Best Pop Female Vocal Performance for the Peter Allen/Carole BayerSager-penned "Don't Cry Out Loud," winning the Grammy in that category in 1979 then again for four years later for "You Should Hear How She Talks About You."

Two songs she performed, "Through The Eyes Of Love" and "The Promise," were nominated for Oscars in the same year. She has appeared on both the large screen in movies (For The Boys) and small screen in television (Blossom), as well as the stage, including co-creating the Ovation-nominated ballroom dance extravaganza Fascinating Rhythms.

Photo credit: Stephen Sorokoff

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