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New York Pops Put on Christmas Spectacular

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Tuesday, 04 January 2022 15:22; Written by Jack Angstreich

Kelli O'Hara sings with the New York Pops. Photo by Richard Termine

At Carnegie Hall, on the evening of Friday, December 17th, I had the extraordinary privilege to attend a fabulous Christmas concert entitled “Back Home for the Holidays,” splendidly performed by the terrific New York Pops orchestra under the accomplished direction of Steven Reineke and featuring the glorious Broadway soprano, Kelli O’Hara, here replacing the originally scheduled Laura Benanti. This was the ensemble’s first appearance on this stage in twenty-two months.

The program opened pleasurably with a Holiday Overtue, a medley of Christmas songs including “Deck the Halls” and “Good King Wenceslas.” O’Hara then took the stage—looking gorgeous in a sumptuous red gown (sent to her by Benanti) with a plunging neckline—to exquisitely perform the classic “It’s the Most Wonderful Time of the Year,” into which, enchantingly, was interpolated a verse from the sublime “The Christmas Waltz” by Jules Styne with lyrics by Sammy Cahn. She amusingly commented about replacing Benanti that “It’s a such a big sacrifice for me to sing at Carnegie Hall” before singing a memorable version of the magnificent “Have Yourself a Merry Little Christmas” by Hugh Martin and Ralph Blane written for the beloved film Meet Me in St. Louis by Vincent Minnelli, where it was performed by Judy Garland. O’Hara sang the arrangement used by the legendary Barbara Cook with whom she had shared the stage in her (O’Hara’s) first Carnegie Hall appearance and in her previous concert at this venue which was Cook’s last public performance. She followed this with the superb “I Wonder as I Wander” by Appalachian composer John Jacob Niles.

The ensemble then played the delightful “Sleigh Ride” by Leroy Anderson and the famous, traditional English Christmas carol, “I Saw Three Ships,” in a beautiful arrangement by Matthew Jackfert, who was in attendance. A wonderful version of the familiar “Carol of the Bells” preceded the return of O’Hara to the stage in a lovely dark green gown in which she sang “I’ll Be Home for Christmas.” She then performed “A Place Called Home” by Alan Menken and Lynn Ahrens and the charming “Man with the Bag” in a jazzy arrangement, closing the first half of the program.

The second part of the concert opened with the ensemble playing “Jingle Bell Rock,” made famous by Bobby Helms in 1957, the traditional Hanukah song ”Behold the Lights” in an arrangement featuring extensive passages highlighting the English horn, and a jazzy version of Irving Berlin’s “I’ve Got My Love to Keep Me Warm.” O’Hara reappeared in an attractive sparkly and silvery Oscar de la Renta gown to sing “Winter Wonderland” in a way reminiscent of Ella Fitzgerald’s classic studio recording followed by Mel Tormé’s “A Christmas Song” in another arrangement used by Cook. Broadway singer Brandon Michael Name, in his Carnegie Hall debut, then joined O’Hara for a duet of Berlin’s “Count Your Blessings” from White Christmas. He then sang alone Donny Hathaway’s “This Christmas” which was followed by a brief instrumental medley including “Jingle Bells” and a short interlude featuring Santa Claus! O’Hara returned to the stage, wearing a whitish or maybe peach gown, to conclude the evening—in a vocal tour de force—with “O Holy Night” by Adolphe Adam, a composer most famous for the score for the ballet Giselle. O’Hara and Nase sang “Auld Lang Syne” by Robert Burns as a moving encore.

Philadelphia Orchestra "Climb" at Carnegie Hall

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Tuesday, 28 December 2021 16:11; Written by Jack Angstreich

Yannick Nézet-Séguin & The Philadelphia Orchestra, photo by Pete Checchia

At Carnegie Hall on the evening of Tuesday, December 7th, I attended the memorable, penultimate concert in the complete cycle of the symphonies of Ludwig van Beethoven performed by the excellent Philadelphia Orchestra under the remarkable direction of Yannick Nézet-Séguin.

The program began promisingly with a rewarding account of the less commonly played Second Symphony in which a grave introduction preceded a spirited Allegro con brio. The lovely Mozartian Larghetto was followed by a frolicsome Scherzo, concluding with an eccentric but gripping finale.

The symphonies were separated by a short, recent commission by the ensemble, Climb by Jessica Hunt, which was written in dialogue with Beethoven, but which didn’t leave a very strong impression on a first hearing. The composer was in the audience, however, to receive the audience’s acclaim. Especially impressive, though, was a superb reading of the magnificent ‘Eroica’ Symphony which opened with a dramatic Allegro con brio. The extraordinarily powerful funeral march movement that ensued proved to be the highlight of the entire evening but the excitement continued with a rousingScherzoand an enthralling finale.

The last concert in the series—on Tuesday, January 11th, 2022— features the Haydnesque First Symphony as well as the titanic Ninth.

Broadway Musical Review—“Mrs. Doubtfire”

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Friday, 24 December 2021 14:18; Written by Kevin Filipski

Mrs. Doubtfire

Music and lyrics by Wayne Kirkpatrick & Karey Fitzpatrick

Book by Karey Fitzpatrick & John O’Farrell

Directed by Jerry Zaks; choreography by Lorin Latarro

Opened December 5, 2021

Stephen Sondheim Theatre, 123 West 43rd Street, NY

mrsdoubtfirebroadway.com

Rob McClure in Mrs. Doubtfire (photo: Joan Marcus)

A big, blustery mainstream musical, Mrs. Doubtfire is as audience-pleasing as the 1992 Robin Williams movie it’s based on. Even more so than the blockbuster film, the stage musical is a drag show in all but name: unlike in the movie—where most of the time, Williams isn’t shown becoming the middle-aged Scottish nanny—Rob McClure, the physically adroit actor who engagingly plays the title role, is often onstage doing his quick-change act right in front of us, thanks to much clever sleight of hand in Jerry Zaks’ frenetic, sometimes even frantic production.

To be sure, there’s the question of whether the source material, a sentimental comedy about newly divorced actor Daniel’s ruse to stay close to his three children by becoming their nanny after his ex-wife Miranda decides she has to have one, needs musicalizing. And there are several moments throughout the show where the story stops dead so that someone can sing a song that doesn’t really propel things forward. (The creaky, formulaic tunes are written by Wayne and Karey Kirkpatrick, and the by-the-numbers book is by John O’Farrell and Karey.)

Of course, some of the best moments in any musical are simple showstoppers, and Mrs. Doubtfire has one. “Make Me a Woman,” in which Daniel’s brother Frank and his partner Andre—by a happy coincidence, they are makeup and costume artists—begin Daniel’s transformation. The song gleefully showcases the redoubtable Brad Oscar and J. Harrison Ghee in all their campy glory, then turns problematic as the men discuss whom Daniel will look like: the attractive Lady Di or Cher or Donna Summer or the supposedly “unwomanly” Janet Reno, Julia Child and Eleanor Roosevelt.

We get a parade of all of these women, set to a throbbing disco beat, and the joke is that there’s no doubt whom he resembles as the unfeminine Euphegenia Doubtfire (hint: not Di, Cher or Donna). Unsurprisingly, thanks to Zaks’ snappy directing and Lorin Latarro’s energetic choreography, “Make Me a Woman” gets the biggest ovation of the entire show.

Happily, there’s more to Mrs. Doubtfire than such audience pandering. There’s a polished and professional ensemble supporting the comically impeccable performance of McClure, who may be the only actor on Broadway who comes within shouting distance of Robin Williams’ verbal and physical facility (McClure's superb portrayal of Charlie Chaplin several years back clinches it). Jenn Gambatese—who, in the Sally Field role of Daniel’s ex Miranda, has the most thankless straight-woman task—has an agreeable charm, while Analise Scarpaci, as Lydia, the eldest of the three children, deserves the spotlight she gets in her solo songs, which she effortlessly blasts out of the park.

A Unique All-Faith Holiday Show Presented by the Indie Collaborative Filled The Bruno Walter Auditorium Stage This Month

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Wednesday, 22 December 2021 20:14; Written by Brad Balfour

Syreeta Thompson

All Faiths Holiday Show
New York City
December 8, 2021
Bruno Walter Auditorium at Lincoln Center
111 Amsterdam Avenue (between 64th-65th St.)
New York, New York 10023
Produced by Eileen Sherman and Grant Maloy Smith 
Emcee: Grant Maloy Smith

When the Indie Collaborative held its all-faiths holiday show at the Bruno Walter Auditorium at Lincoln Center, I fulfilled my desire to attend a seasonal live show before the year’s end. On Dec. 8, 2021, from 7-8:30 pm, the show featured more than 20 award-winning Indie Collaborative artists presenting their music. Meant for all ages and faiths, it celebrated the diversity of our seasonal celebrations. Produced by co-founders Eileen Sherman and Grant Maloy Smith — with Smith emceeing — the eclectic cast included jazz trumpeters, former Stomp performers, stars of stage and a lively ukulele aficionado.

Founded in 2015, The Indie Collaborative has become a vehicle for independent musicians and industry professionals (actors, poets, writers, dancers, make-up artists, producers, photographers) to connect with others in the creative arts. It puts on several kinds of events, from showcases to curated shows produced with members. There are chapter meetings and social events for its membership which includes over 2,000 collaborators from around the globe. Membership is free. There are only two requirements — be an industry professional and be dedicated to excellence in the arts.

The jazz community had a significant presence at this all-ages interfaith musical salute to Diwali, Kwanzaa, Hanukkah, Christmas and the New Year. Jazz musicians Alex Otey, Nicole Zuraitis, Syreeta Thompson, Lucy Kalantari, Charu Suri, and The Levels were all part of a great cast of performers on the Bruno Walter stage.

Women musicians were a large part of the show as well. Jazz bandleader, recording artist Zuraitis is the premiere vocalist of the world-famous Birdland Big Band and for Dan Pugach Nonet, who were Grammy-nominated for their arrangement of Dolly Parton's “Jolene." She assembled an all-star female ensemble to record her project “Generations of Her: Women Songwriters and Lyricists of the Last 100 Years” while working on her sixth album as a leader.

Trumpet Lady Thompson is a Billboard Number 1 Album Topper with an upcoming documentary, “Blow Yo Horn”. She kicked off the event by displaying a vigorous demonstration of her instrumental mastery. Uke master Kalantari is a two-time Grammy Award Winner in Children’s music category with a new album, “What Kind of World” coming out with her group The Jazz Cats. Her rousing performance was full of energy and engaged the audience with an energetic sing-along.

In addition, multi-award-winning classical pianist and world music artist, Charu Sur performed a challenging composition combining jazz with ragas from her native India.

Also on stage were popular New York cabaret and soap opera actress Grace Garland as well as award-winning classical flutist and symphonic performer Joanne Lazzaro, Naumburg International Violin Competition Honorarium Prize winner. Then add featured Broadway violinist Kelly Hall-Tompkins, Drama Desk Winner and one of “Broadway’s Best” Rachel York and IDEA Legacy Lifetime Achievement Award winning performer and producer Yocontalie and you have an amazing set.

Internationally acclaimed hip-hop, R&B, jazz, Latin, and Afrobeat group Levels combine two cast members of Stomp, an American Idol finalist, and two Italian music virtuosos to yield one energetic and stimulating performance. Then there was Billboard Top 10 American Roots recording artist Smith who brought in an emotional and touching rendition of two songs including “On This Day” and ““Christmas Eve in Times Square USA”.

The show’s grand finale brought everyone together as the entire cast on-stage performed a Smith classic “We’ll Stay Together” with lyrics in the program for audience sing-along. All told, the concert displayed an amazing array of talents and good work from Indie Collaborative members. What a way to close out a complicated year.

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