Review: TO BARBRA, WITH LOVE Was a Swell Streisand Salute at 54 Below

“Hello, gorgeous!” was how the 54 Below audience was greeted on May 23 by the night’s co-hosts (also sharing producing/directing roles) at the top of the Barbra Streisand-centric show at 54 Below with multiple performers.  The reaction of appreciative laughter indicated that many in the audience recognized the line as both the first words uttered by Barbra Streisand, in the role of Fanny Brice, to her reflection in the mirror in the stage and screen versions of the bio-musical Funny Girl, and what the star said at the Academy Awards when she looked at the Oscar statue she won for her performance in the movie. With their own solo numbers, our friendly welcomers reminded us of Funny Girl again later, with Ayanna Nicole Thomas strongly belting out the score’s “Don’t Rain on My Parade” and Abigail Hammond finding her own drama and confession with “My Man,” the signature Brice torch song used as the film’s dramatic finale. 

The honoree’s debut Broadway role, in 1962’s I Can Get It for You Wholesale, was represented by the comical grousing of a love-starved, underappreciated secretary (“Miss Marmelstein”), done with spunky kvetching by Skylar Crown.  Appropriate resolve and fierceness were on display with Hannah T. Skokan’s steamrolling “Gotta Move.”  She was back for a duet on “Guilty” with charismatic Liam Pearce, one of two cast members from the recent Broadway musical How to Dance in Ohio participating.  And a mirrored disco ball spun around, spreading light and a light-hearted sense of fun and musical genre revival. He and one of his Ohio castmates sang picks from the film A Star Is Born. He steered the driving feminist anthem “Woman in the Moon” (nice to hear a man on that one) and Marina Pires, an understudy/swing in How to Dance… was ever so fine with “Evergreen,” the movie’s love theme. “Evergreen.” And she was even better on “He Touched Me,” a major highlight of the program, capturing the wonder and intoxication of someone’s romantic interest. 

Unlike many acts surveying a famous person’s career, this one was not sprinkled with biographical info, fun facts, or historical context. Although there were opening remarks stating that the chosen repertoire would have samples of every period of the Streisand career, with a cute reference to a memorable hairstyle look (“the perm years”), there was nothing she recorded — for the first time — past the year 1988. “On My Way to You” is the one from that year, a ballad sublimely delivered with conviction and tenderness by Andy Gale. His understated and involved performance, with focused audience connection. Young participants in this event know him as one of their teachers at the Manhattan School of Music, and this rendition certainly showed why they can look to him as a role model. Like many things Barbra Streisand recorded, this number has a lyric by her friends Marilyn and Alan Bergman whose words were also heard in other selections, but treated non-traditionally. “The Way We Were,” typically more subdued and reflective (mostly), in a nostalgia-filled reverie,  became more stentorian and grand in Neil Devlin’s version.  The handling of “You Don’t Bring Me Flowers” was the evening’s “outlier” – it was the only time a performer said much of anything as a setup about a personal connection and, surprisingly, the lament about a disintegrating relationship had its melodrama milked for laughs. Abigail Hammond told us of a time in her teens that she had a chance to see her beloved Barbra in person and that’s when her boyfriend broke up with her. Chandler Sinks came on stage to act out the role of the guy, starting the lyric with its titular complaint. There were a few spoken asides to inject comedy, such as saying “I’m allergic to flowers” and “Ask your mom for money.”  When they got to the part describing the love-making of a long-term couple sharing a bed and home, she interrupted to “remind” him: “We’re 15!!!” as if he might be fantasizing. These comedic choices seemed to work better for some in the crowd than they did for me.  However, I was impressed with the two men when their singing talents were showcased last summer at this venue in Scott Siegel’s annual program of recent grads from theatre/music programs, now called "Broadway’s Next Generation." Even though the treatments were not to my taste, they're both fine singers.

I was impressed by the savvy skills and versatility of pianist/musical director Jake Safirstein, who was joined by Owen Story on bass and drummer Philippe Clément. The finale was the return of Abigail Hammond and Ayanna Nicole Thomas, soon joined by the company, for the counterpoint duet of “Happy Days Are Here Again” and “Get Happy,” premiered when Barbra Streisand guested on Judy Garland’s TV series.  These performers gave many reasons that night to make us quite “happy.” It was an enjoyable gathering that felt like a meeting of The Barbra Streisand Fan Club then being adjourned until….when?  Well, for me, my schedule had me assigned to attend another concert tribute to the lady the very next night.

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