Review: Audra Mcdonald Opens Caramoor's Season with A Gala Concert

1994, I was crazy in love with Sally Murphy.  She was starring in the Lincoln Center Theater import of Nicholas Hytner’s National Theater production of Carousel.  I got a friend who works at Lincoln Center to give me a tour backstage, in hope of “running into” Sally.   Long story short, I got lost and had to ask for directions.  The young lady whom I asked was charming and sweet and she said: “Are you sure you’re allowed back here?” That was my first encounter with Audra McDonald.  Later that day, I saw her on stage as Carrie in the show.  She was wonderful – won her first Tony in the role.  So it was really a treat on Saturday night at Caramoor’s opening gala concert, when she sang “When I Marry Mr. Snow.”  It brought back all sorts of wonderful memories of the myriad of characters and performances I’ve seen/heard Audra do in the last (hard to believe) 30 years.

Yes, she’s won 6 Tonys, Emmys and Grammys, et al,  but what the packed-to-capacity Venetian Theater audience heard was something truly wonderful, and a reminder of just how special an entertainer Audra McDonald is.  She began the night with her traditional opening number: “I Am What I Am”, from La Cage aux Folles, and that set the stage for her not-so-subtle message of inclusion that permeated the performance.   She’s not the least bit afraid to speak (and sing) her mind, and the audience (including President Bill Clinton and Secretary of State Hilary Clinton) ate it up. 

Her setlist stuck largely to traditional American songbook/Broadway numbers, with the occasional off-beat nugget thrown in to keep the material fresh.  Choosing “Coronet Man” from Funny Girl and “Moonshine Lullaby” from Annie Get Your Gun, rather than the more obvious choices from those shows displayed her love, knowledge, and respect for the “deep cuts” of these shows, the kind of songs that illustrate the great depth of these shows.  

However, one particular gift – perhaps even glory – that Audra McDonald possesses – aside from the obvious ravishing sound and exemplary technique – is the uncanny ability to take the most well-worn standards and make them fresh and special, and remind us why they became classics in the first place.  THAT is a gift that she possesses in far greater abundance than probably any other performer in the world today.  Making “Before the Parade Passes By” into an intimate almost confessional number and turning “I Could Have Danced All Night” into a joyous audience singalong.

Her now celebrated mashup of “You've Got to Be Carefully Taught / Children Will Listen” was once again a masterclass in poignance and a reminder of the power of song to inform and guide us (without didactically beating us over the head). 

Even, “Summertime,” which she delightfully introduced saying: “if you don’t know this one – well, I just can’t help you!” was delivered in such a manner that made time seem to stand still.  The somewhat rambunctious gala audience was silent as the grave as she utilized her "opera voice" to deliver a goosebump-inducing version of the standard.  (Aside: at the completion of the song, my wife whispered in my ear: "No one else in the world should be allowed to sing this song but Audra.")

The orchestra of St. Luke’s is a fine partner for Audra, and they have shared the Caramoor stage several times in the past to great success, but this evening may have been the finest of their collaborations.   As always, she graciously (and regularly) acknowledged and thanked her musical director, Andy Einhorn (who even got to sing a duet with her!) and her first-rate trio, Jeremy Jordan, piano, Gene Lewin, drums, and (the-best-bassist-in-the-business) Mark Vanderpoel, bass.

If you have never seen Audra in concert before, you are probably not aware that she is also a world-class storyteller and possessed of a hilarious sense of humor.  She regaled the crowd with daily-life anecdotes about her children (who clearly are not all that impressed by all her accolades and awards).  The talents that make her acting performances so special also make her concerts deeply personal and memorable – again, that rare gift of making you feel like she is speaking directly to you.  At 52 years of age, she is at the height of her powers, and we are the beneficiaries.

So… here is the rub (and the gripe): for the better part of the 20th century, composers of all stripes wrote and developed star vehicles for the great leading ladies of the stage: Helen Hayes, Mary Martin, Ethel Merman… aside from “Marie Christine” – the truly underappreciated musical that John Michael LaChiusa compose specifically for Audra, where are the great roles being created for her?  Why aren’t composers lining up to write shows specifically for her?   For the better part of the 21st century most of Audra’s performances have been revivals.   (110 in The Shade, Porgy and Bess, Frankie and Johnny, The Ohio State Murders) And while she has shined in all of them, it seems like there is a great, even epic, opportunity being missed.   Recall, only a few years ago, Audra even did a complete album dedicated to the younger, newer Broadway composers. 

Here’s hoping that in the not to distant future, we see a crop of new plays and musicals conceived, developed and presented specifically to showcase this one-of-a-kind talent.

Peter Danish

Photos - Gabe Palacios

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