Review: FIFTY KEY STAGE MUSICALS: THE CONCERT! Lets Beloved Broadway Stars Shine at 54 Below

There is something truly unique about a performer returning to a role. Their new life experiences and nostalgia for the beautiful moments gone by combine to create a performance with unrivaled depth. So, when given the opportunity to see some of Broadway's most iconic players return to their most treasured roles, I could not say yes fast enough! This wasn't just a round table of reminiscence, however- it was educational! In its second outing, Robert W. Schneider's Fifty Key Stage Musicals: The Concert! continues to further our understanding of where the craft of musical theatre comes from and how it informs some of the most groundbreaking current work, and who better to teach than those with firsthand knowledge?

There's a lot of fun to be had in a night of back-to-back contemporary musical theatre numbers, but when dealing with works of historical significance, such as Sweeney Todd or Ain't Misbehavin, I find that having an understanding of the notable context augments the experience. Now, this may be a little geeky, but when Len Cariou is ten feet away, speaking about his relationship with the late, great, Dame Angela Lansbury, nothing can compare. Additionally, Schnieder, who co-penned the book which gave this concert its name, is committed to accessible education, which makes the evening all the sweeter. Between the book, his podcast, and the upcoming YouTube channel where this concert and others like it will be available for viewing, Schneider is making sure that everyone who needs it can have access to an excellent education in the essentials of musical theatre history.

Traversing almost three-quarters of a century, Fifty Key Stage Musicals: The Concert! was created with a core concept to tie the show together- you can't do that! These shows were chosen from the fifty because they were entirely novel at the time of their initial Broadway runs, whether it was in source material, format, or other variation from convention. Theatre has pushed the cultural envelope as long as people have been alive, and while the art form known as musical theatre has sometimes been dismissed for a lack of substance, these musicals demonstrated that there are new hurdles to jump. Between Schneider's snappy, succinct narrations and the legendary performers reliving (or, as was the case with some of the younger artists, simply living) even the most seasoned Broadway veteran could walk away with a brand new appreciation for our shared past.

Opening with the title song from Of Thee I Sing, Mark William and Caitlin Belcik were utter perfection, bringing knowing humor to the language which was considered "problematic" at the time. Their expertise in the style was evident and straddled the line between period piece and contemporary context delightfully. Jim Brochu returned to the infamous fisherman cap when he shared the most wonderful story of forcing a friend to sit at the back of the house while he watched the second performance of Fiddler on the Roof, and his blue eyes glittered while this "man of the theatre" performed "If I Were a Rich Man," trunk shaking and all. That friend, by the way, was Stephen Schwartz. We then bounced to the Pulitzer-winning Ain't Misbehavin', and the legendary LaDonna Burns belting the house down in "Cash for Your Trash." Leaning into the revue style of the show, she ate up that stage and gave the audience the star power for which she's known. From The Secret Garden, with its historic first all-female creative team, we had "Hold On" from Alexandra Amado Frost, delivered boldly and with great power. Guinness World Record Holder (look it up!) George Lee Andrews shared highly unique, deeply personal, and marvelously engaging stories from his lengthy theatrical career, spanning over 60 years. In my personal highlight of the evening, Beth Fowler, the original Mrs. Potts in Beauty and the Beast on Broadway, sang the title song of the show. Beauty in the Beast was actually my first Broadway show, so when I was able to witness this tower of the theatrical community perform a number that held such a deep personal connection, and not miss a beat from when she opened the show in 1994, more than a few tears were shed. In a delightful surprise, the music director, Michael Lavine, graced the audience with a charmingly bouncy "When I Go Walking with My Baby," which was originally cut from Oklahoma! and eventually made its way into State Fair. Lee Roy Reams revived his iconic performance as Zaza for "I Am What I Am," while also giving a vulnerable insight into how his journey to the discovery of his queer identity informed his career. Kevin Chamberlin and Janine LaManna showed that they haven't lost any sense of character or chemistry while bringing back "Notice Me, Horton/Alone in the Universe," making it clear that, were Seussical to be revived today, they could return to the roles without batting an eye. And then! And then! Len Cariou! My God, what a sight. If you have the chance to see Len Cariou perform Sweeney Todd, in absolutely any capacity, do it. He's a marvel.

Fifty Key Stage Musicals: The Concert! is a fabulous addition to the plethora of educational materials available on the World Wide Web. Having these iconic performances forever immortalized is honestly one of the best arguments for the existence of that whole hellish internet situation. Hopefully, Mr. Schneider will decide to continue bringing this series to 54 Below, but if he doesn't, I feel privileged to have been a part of this evening.

Purchase Fifty Key Stage Musicals HERE, or check out the podcast of the same name HERE.

Find tickets to more shows at 54 Below HERE.

Photos by Bobby Patrick

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