Review: TURN THE BEAT AROUND Continues Smash Hit Residency at 54 Below

Now in their third month of residency at 54 Below, the good people of TURN THE BEAT AROUND continue their love affair with the nightlife of Manhattan. This unique Disco experience is a phenomenon that is driving people in hordes to the one-time basement of Studio 54 in order to recapture the fun of that bygone era, or make some new fun in a troubled present day era. It certainly is fun and it certainly is worth investigating.

This devotee of disco and Seventies savant has attended each installment of Turn The Beat Around since the program became a residency, each time bringing a different plus-one, to observe their reaction. The first performance, my guest was Broadway World Cabaret's answer to Lois Lane, Belle Goodman, and this young person in their twenties had raves for the show (read Belle's review HERE). The second outing saw me at the club with Broadway World Cabaret's Rainbow Reviewer, Bobby Patrick, who was alive during the disco days and has an actual frame of reference (read Bobby's thoughts HERE). Both of these trips to Turn The Beat Around yielded much joy from our Broadway World Cabaret team, so, for this third visit I took former Broadway World Cabaret writer Lin Markz, so that I could get a reaction from someone who didn't have to sit at the table all night, taking notes. Lin wasted no time getting in on the action. Once inside the club, Lin was immediately on the dance floor, participating in the free disco dance lesson from the Emmanuel Pierre Antoinne dance studio (always a blast). Indeed, Lin Markz hardly left the dance floor all night, and it gave this watcher, this reporter, this photographer, a chance to check out the second show happening during a performance of TURN THE BEAT AROUND - the one starring the audience.

54 Below is a warm place. It is inviting, it is festive, and it is comfortable. The staff there is friendly and playful, and, from start to finish, a trip to Turn The Beat Around feels like a party - a party for everyone, whatever their objectives for the night. Almost everyone takes a turn on the dance floor: some women might be having a girls' night out while some nearby boyz are having a gays' night out. Some couples can be seen on a date night, and there are those taking a spin on the floor with that most important dance partner of all: theirself. There is no reason not to dance at this party. The tunes are all music that we know, subsequently putting us in our comfort zone. We can sing along while we dance, or we can sing from our table as we watch our pals cut a rug. There are even those who will dance without even leaving their table. One such guest, a woman of indeterminate age, was seated at one of the booths at the back of the club, booths that are two steps up from the ground floor, two steps up from the dance floor. This patron got dressed to go out, she put on her makeup, she styled her hair, and she had a great time... from that one step up from the ground. For almost the entire show, this lady stood on that step, her feet solidly planted on the wooden plank as a base of support... but her hips, her knees, her waist, her shoulders, her head, her neck and her arms and hands were dancing. There was clearly no intent on her behalf to step down and into the throng - this lady was as happy as a person can be, moving all the parts of her body that could be moved in the act of dance from a stationary position. She knew the words to every song, and she sang those words into the flashing-lit, perfume-filled air of 54 Below, happy, contented, and enjoying the world from her perch. Until Scott Coulter and Michael Holland did it. They compelled her to move. They made her join the crowd. And all they did to make this disco-loving lady ease off that one step and down onto the dance floor was sing "It's raining, it's pouring, my love life is boring me to tears, after all these years..." Together, these two men who can actually sing in Barbra and Donna's keys got the entire room excited, pent up,and thrilled for that momen to comet: "And we won't waaaaaaaste anoooooooootheeeeeeer teeeeeeeeeeeaaaaaaarrrr...." and that lady who had spent an hour dancing by herself was in the very center of the dance floor, singing along with everyone else, dancing with a room full of friends and strangers, all of whom were living their best lives.

This is just one story, one vignette from an evening out that is making people happy. Other stories popped up like flowers, depending on who was on the stage and what each patron's interest was. Turn The Beat Around is not just a dance night - we could invite friends over and dance in our living rooms to a playlist. This is a concert. And as a concert, there are people who would rather stand at the foot of the stage in a kind of 54 Below mosh pit, watching these beautiful, amazing, life-threateningly talented singers. Jessica Hendy is energy on a stick, reaching out to touch people, doing back bends, growling and howling the likes of "It's Raining Men" and Susan Agin was rock singer personified, performing "Turn The Beat Around" at such a level that the crowd crept right up to the edge of the platform, and although the dance floor was still undulating, many of the 54 Below guests stood slack-jawed in the disco lights to take in Devin L. Roberts' otherworldly vocals and dance moves on the number "Funky Town." iPhones galore were raised into the air so that people could go home with video footage of Anthony Murphy singing "If I Can't Have You" or snap pictures of fierce and fabulous Jessica Birago in her sheer top and sequin bell bottoms. Mike Schwitter had the whole room doing the "YMCA" choreography and the moment the opening chords rang out "Ba ba ba da, ba ba ba da BUMP, ba ba ba da DA DA" and the crowd realized Kelli Rabke was about to sing "Got To Be Real," there was nary an empty seat in the house. Everyone has a favorite song to dance to, and when that song comes up, and it's going to be crooned, belted, or blasted by a live performer, the urge, the desire, the need to participate is authentic and, here, it's available. After three installments of Turn The Beat Around, I no longer hear Alicia Bridges singing "I Love The Nightlife" in my head - I hear Lorinda Lisitza, and, as we were leaving, sweaty, glowing, glistening Lin Markz insisted on knowing "WHO was that STAR singing Hot Stuff in zebra stripes?!" (It was Tyce Green.) Everyone will walk away with a favorite - a favorite singer, a favorite moment, a favorite story from their night in the basement with Coulter and co.

Whether being enjoyed as a night of dance with your girls, your gays, or your guy, or a concert experience just for your own enjoyment, the Turn The Beat Around residency is one of the nicest things to happen in cabaret and concert this season, and it isn't any wonder that the shows are selling out and growing in popularity. People need joy right now, and that can be found in the form of great entertainers, music, music that we KNOW, and the chance to dance. They say dance is life, and, as far as this clubgoer can see, the audiences at Turn The Beat Around are living it up and living their best lives on the first Wednesday of every month. That's something we can all grab a little bit of, eh?

The incredible Turn The Beat Around band is Musical Director Michael Holland at the piano (and on vocals), Larry Lelli on Drums, Matt Scharfglass on Bass, Thad DeBrock on guitar, and Jeremy Clayton on woodwinds and vocals.

Turn The Beat Around plays 54 Below on the first Wednesday of every month at 7 pm and 9:30 pm. The currently listed show dates are listed below and the 54 Below website link is HERE.

Wednesday, April 5, Doors open 5:30 pm/Show at 7 pm

Wednesday, April 5, Doors open 9:00 pm/Show at 9:30 pm

Wednesday, May 3, Doors open 5:30 pm/Show at 7 pm

Wednesday, May 3, Doors open 9:00 pm/Show at 9:30 pm

Wednesday, June 7, Doors open 5:30 pm/Show at 7 pm

Wednesday, June 7, Doors open 9:00 pm/Show at 9:30 pm

Photos by Stephen Mosher; Visit the Stephen Mosher website HERE.

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