Review: Jeff Harnar's A COLLECTIVE CY and THOSE GIRLS SING BROADWAY (Birdland, Don't Tell Mama)

 

Once upon a time, before I’d amassed frequent flyer miles over the friendly skies of CabaretLand, I was somewhat overwhelmed by the vast number of performers and shows out there.  Which ones to choose?  Happily, I found the perfect introductory sampler which, happily, is still an annual tradition and will be presented next week: the multi-performer Cabaret Convention concerts.  Two shows I saw recently – and will cheer below— featured those who are among the singers in the first of the series’ three nights (Tuesday, October 17) at Jazz at Lincoln Center by Columbus Circle. Their acts have been longtime favorites of mine and I remember the delight of seeing them for the first time.  There’s Jeff Harnar, who will be co-hosting the opening concert that focuses on the songs of Kurt Weill, and who brought his presentation celebrating another Broadway composer, Cy Coleman, to Birdland.  And the wonderful vocal quartet called Those Girls had their way with the Great White Way’s scores in their act, too. They are Wendy Russell, Rachel Hanser, Eve Eaton, and Karen Mack.  (Singing ladies named Karen will be plentiful at the Convention events, with the first evening also including Karen Akers and Karen Kohler, while Karen Oberlin appears the second night, which is a tribute to Doris Day. There’s no Karen on the bill for the final program, but there are some with the initial K who are much more than OK:  Jonathan Karrant, Klea Blackurst, and –of course – KT Sullivan, Artistic Director of the organization that puts on this extravaganza: The Mabel Mercer Foundation.)  Now, let me tell you about Jeff Harnar’s well-polished gem called  A Collective Cy and the collective called Those Girls.

Jeff Harnar’s show at Birdland was the epitome of a cabaret-style, stylish, and well-considered songwriter tribute. It honors Cy Coleman’s broad spectrum of show tunes and stand-alone songs (often with Carolyn Leigh, like “Witchcraft” which showed her skill at the craft of writing sly lyrics). The material is personalized.  That’s what makes cabaret full of surprises and new twists.  But this latest example of the panache and pleasures provided by this vocalist and his longtime arranger/pianist Alex Rybeck was hardly a surprise to me. I’ve caught them many times, together and with others.  Among my strong memories: their teamwork in one of the very first cabaret shows I ever saw in NYC, then  seeing their Coleman collection when it debuted years ago. And the new studio recording of much of the material had already filled my ears.  But the live show had some treats not included therein. There’s a spiffy opening medley cleverly exploiting the common existence of the word “Hey” in different songs and special lyrics about the Harnar/Rybeck relationship for “You’re Nothing Without Me” that were written by David Zippel, who’d authored the original set for the musical City of Angels. 

Also in the top-tier band were Jay Leonhart on bass,  Ray Marchica on drums, and Marc Phaneuf on saxophone — what a team! Our appreciation was informed by the fact  that this was no later-in-life choice of a tribute subject sans fond connections. Mr. H. got to meet Mr. C. in his early days of performing, but he was already a fan, having asked for, and received, the cast album of Sweet Charity (lyrics by Dorothy Fields) for his birthday when he turned 7.  It’s the most represented score, with its “Rhythm of Life” getting new life as all parties on stage donned sunglasses and joined in the hipster-ish fun, with special guest Danny Bacher (sax and vocals) very impactful.  Blending voices also made the glide through the super-catchy but laid-back “A Doodlin’ Song” another treasure. The Birdland evening, directed by Sara Louise Lazarus, was a prime example of shaping a set, with changes in mood from swing to serious to sad to sassy timed expertly and the talk had just the right mix of history, humor, and heartfelt comments.  Now that’s what I call cabaret!  

Those Girls  who returned to Don’t Tell Mama with a return show of their own, love their show tunes, couldn’t see the one-night Coleman sparkler because they had their own one-night gig — in Austin, Texas.  So they’ll all have to settle for crossing paths at that opening night of the Cabaret Convention. Joining them will be the aforementioned Danny Bacher and a songbird landing in Birdland the night before the Convention starts (Maude Maggart on the 16th) , and someone else on DTM’s October calendar (Therese Lee, who comes there on the 21st, directed by none other than Mr. Harnar). Small world, this world of cabaret.

Those Girls are cause for applause, individually and as a unit. They’re an aweome foursome due for some more congratulations.  They have always made me enjoy any genre of music they choose to use their creative energies to explore.  And when the title is Those Girls Sing Broadway: Volume 1, I’m raring to go wherever they go. The set list covered dozens of scores, some samples stuffed into clever medleys, some with a wink to their similar subject matter but contrasting styles, such as combining two complaints about young peoples' troubles:  “It’s the Hard-Knock Life” from Annie, suitable for a family audience, and Spring Awakening’s “The Bitch of Living” which, well, is not. What a hoot!

(color photo below: Left to right are Eve, Karen, Rachel, Wendy)

We’re dazzled by their harmonies from the start, with just their voices to focus on, as they begin a capella, in dim lights,  with their backs to the audience, holding a pose with poise. And it’s the perfect opener: “The Sound of Music.”  Later, there’s more Rodgers & Hammerstein, with Those Girls in sailor hats in the guise of being those guys from South Pacific, opining that “There Is Nothing Like a Dame.”  Talk about gender-swap casting!  And they also made room for “Dames” – the Harry Warren/ Al Dubin number plucked from a 1934 movie, interpolated decades later into the the stage musical based on another film featuring their songs, 42nd Street. And, so, at the venue a few blocks north thereof, 46th Street’s cabaret Don’t Tell Mama, the halls were alive with the sound of music throughout a generous-length act. The sound of music, instrumentally, was aces, too: with pianist/music director Steven Ray Watkins, bassist Marco Panascia, and drummer Don Kelly. Their director, as usual, is the savvy Lennie Watts, who brings his knowhow about entertainment and balance, with an eye for making movement work in a small space, too. 

Each woman had solos and got a chance to show personality by chatting about the first musical she remembers seeing and/or loving. Rachel Hanser hilariously sings part of a famous Broadway number she had to learn as a kid at camp — in Hebrew!  Eve Eaton is dynamic with some solid belting, such as on “Anything Goes.” Wendy Russell brings warmth and wistfulness on a wondrous musical flight to Peter Pan’s “Never Land” (also serving as her own pianist for this one selection). Karen Mack displays her versatile voice on solos and blends – and also serves as a sort of den mother/emcee/coordinator. Who could ask for anything more?  Well, I can.  The words Volume 1 in the show title make this very satisfied customer ask for more — Volume 2, Volume 3, Volume 4…. It would be nice to hear some very early stuff (a little Gilbert & Sullivan was in a montage of patter songs, but how about the ancient but vital oldest works of the Gershwins, Irving Berlin, Rodgers & Hart, Jerome Kern….)  Obviously, there are thousands of Broadway songs to pick from, many that would be natural fits for harmonizing.  I want to hear Those Girls sing all those barbershop quartet tunes from The Music Man, “Sunday” from Sunday in the Park with George, “Baby, Talk to Me” from Bye Bye Birdie, and, of course, the title song from musical that finally makes it to Broadway this season – Harmony.  

Autumn’s musical offerings in NYC cabaret — so far, so good.  And more to come.  

Here are some helpful websites:

For the full roster for The Cabaret Convention concerts (Oct. 17-18-19, show at 6 pm, at Jazz at Lincoln Center), tickets, and other info from The Mabel Mercer Foundation, click HERE.

Click HERE for all about Jeff Harnar.  

Meet THOSE GIRLS HERE.

Birdland’s busy calendar of talent is HERE.

Don’t Tell Mama’s info is HERE. 

Color photo of Those Girls: Natasha Castillo (color); Helane Blumfeld (black and white); provided by the artists.

Jeff Harnar photo credit (Shows at Birdland shot by Kevin Alvey from BWW's photo article.

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