Review: ALYSHA UMPHRESS & JEFF BLUMENKRANTZ Shine Brightly at The Green Room 42

The show is announced as starting, but the Green Room 42’s stage lights do not come on.  Our sense of sight is not yet allowed to be a factor or distraction in our first impression as, in the darkness, we hear two singing voices blending gorgeously. There is no instrumental accompaniment to take our attention away from the sublime singing. The impact of this arresting a capella beginning is a savvy investment in audience attention that makes us look forward to the numerous vocal combinations (with piano) to come as highlights to revel in.  Alysha Umphress and Jeff Blumenkrantz have collaborated over the years, chums whose voices complement each other (“It’s ‘Friendship,’ just a perfect blendship” to quote a Cole Porter number.)  Each sings solos, too.  More blissful "blendship" comes later in the act when Kenita Miller joins them in song. It’s a rewarding evening with lots of numbers from musical theatre arranged with artistic license, sometimes in medleys, by Renaissance man Blumenkrantz (singer, actor, songwriter, and the program’s sole musician, at the keyboard). Items he wrote or co-wrote are in store, as well.  Patter and personalities are down to earth, relaxed, emphasizing the years-long simpatico mutual admiration situation.

Their contented comradeship was embraced via a peppy piece from the musical Annie, “I Don’t Need Anything But You” (which is on their album) and a medley from Gypsy. The performers have Broadway credits, but didn’t rely on those shows for the night’s repertoire.  

Often gently conversational in delivering lyrics, Blumenkrantz's voice can also harmonize with distinct sweet tones or summon a more robust quality when emotions in a song build. His songwriting output is similarly versatile, effectively poignant, robust, or comical.  A particular audience favorite, sung by him alone, was from the point of view of a mother not ready to accept that her musician son is exclusively gay, wanting him to marry a woman and thinking of her potential grandchildren, stating emphatically that such a path “worked for Leonard Bernstein,” so it should be “good enough for you.” In character pieces, Miss Umphress entertainingly stepped into the shoes of a frustrated bridesmaid, a stalker who breaks into the home of the object of her obsession, and more innocent ladies besotted by love. 

Kenita Miller impactfully sang solo, in the show’s one female duet, and all three voices combined in a slowed-down “I’ve Grown Accustomed to her Face” that made the My Fair Lady classic truly melancholy rather than just wistful, and without the content from the original context that erupted into rage. The beauty of the vocal harmonies prevented the snail-paced exploration from becoming a dull dirge, but, arguably, the Blumenkrantz trick of taming tempo to a crawl to bring out more drama might have been used once too often this night.  However, I’m all for resourceful revelatory reinvention to make us hear established old material in new ways. 

Although the lighting was generally well handled, there were some sudden strong changes with white lights that could be jarring and tough on the eyes; this might vary depending on seating locations.  The room was quite full on a very cold night and the show was full of talent and splendid material, presented with polish and panache.

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