Review: Mauricio Martinez Turns Auditioning into Art In 5'11', BASED IN NYC at 54 Below

Have you ever wondered what it’s like to be inside the room when they’re casting a Broadway show? To experience that these days you would first need a time machine. Since the pandemic, instead of walking into a crowded room with hundreds of other hopefuls, most actors have been confronted with the less social prospect of the “self-tape.” In order to wind up on Broadway these days, not only does an actor have to be a gifted singer, dancer, and actor, but they also have to be a videographer, sound engineer, graphic artist, and film editor.

That is the premise of Mauricio Martinez’s cabaret evening, Mauricio Martinez, 5’11”, BASED IN NYC. Martinez (On Your Feet) presents an eclectic evening of Broadway classics and modern fare presented as a series of self-tapes. Mauricio Martinez is a performer of great range. His work has been seen on Broadway, in London, in Mexico City, and even, in his early career, in telenovelas. He is one of the great crooners with a talent for smart phrasing. Everything he does is infused with passion. He is equally adept at heartfelt ballads and sly comedic numbers. In another era, he would have felt right at home among the Rat Pack.

Martinez is also 100% connected with his audience. Whatever that elusive quality called “stage presence” is, he has it, and then some. He finds the charm in numbers like “All I Care About is Love” from Chicago, “ If Ever I Would Leave You” from Camelot, and “Another Hundred People” from Company. He dedicated a beautifully acted rendition of “Music of the Night” to his mother, a lifelong fan of The Phantom of the Opera. Sung in Spanish, it was one of the highlights of an evening full of highlights.

He also gave us some first-rate guest stars. Alexis Michelle, of RuPaul’s Drag Race, gave us the full Barbra Streisand for “You Are Woman” from Funny Girl. She brought out the coy side of Martinez in this lovely duet. He was also joined by the wonderful Linedy Genao (Bad Cinderella) in a medley of tunes he described as the great Latino roles. They did some big power singing on “Man of La Mancha,” “And the Money Kept Rolling In,” and “Marta,” from Man of La Mancha, Evita, and Kiss of the Spider Woman, respectively. “Marta” in particular was a beautiful performance. However, I believe there is something to be taken away from the fact that these three great Latino roles, Don Quixote, Che Guevara, and Valentin were all written by white writers.

The highlight of the evening was a very simple performance of Sondheim’s “Good Thing Going.”  There were no tricks. Just a performer on a stool connecting with the words. He dedicated the song to absent friends. It was a powerful moment. He wrapped up with a bopping version of Justin Timberlake’s “Can’t Stop the Feeling,’” written for the film Trolls. His encore, a modified pop version of “The Impossible Dream,” was a perfect capper on a lovely evening.

Mauricio Martinez was supported by a wonderful band led by music director, Brian J. Nash. Nash’s arrangements were clever and gorgeous without pulling focus. Mary Ann McSweeney on bass, Jeremy Yaddow on drums, and Eleanor Norton on cello made a glorious sound. Director Robbie Rozelle paced the evening perfectly. However, if I had one criticism, I would have liked to have heard more stories about the self-tapes themselves. I think the richness of material suggested in Martinez and Rozelle’s structure isn’t quite fulfilled yet. But for sheer showmanship, Mauricio Martinez: 5’11”, BASED IN NYC  is a great evening of great songs, delivered by a delightful and gifted artist.

For more about Mauricio Martinez, follow him @martinezmau on Instagram. For more great shows at 54 Below, go to 54below.org.

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