54 Sings Broadway’s Greatest Hits

Ron Forman | July 20, 2017

54 Sings Broadway’s Greatest Hits

Feinstein’s/54 Below, NYC, July 14, 2017

Reviewed by Ron Forman for Cabaret Scenes

Scott Siegel
Photo: Maryann Lopinto

It is not meant to diminish the excellent cast of performers in the 16th edition of Scott Siegel’s Broadway’s Greatest Hits to say that if I had only seen and heard Nancy Anderson’s two numbers, that in and of itself would have made my trip to Feinstein’s/54 Below worthwhile. Her first, “But Not for Me,” showed that she belongs in the top tier of Broadway and cabaret performers. Her voice was thrilling, her facial expressions and body language moved me. I had recently seen Sunset Boulevard on Broadway, but when Anderson closed this show with a truly spectacular performance of “As If We Never Said Goodbye,” I wished that I had seen the one performance she gave as understudy to Glenn Close as Norma Desmond. Having said that, this edition of the monthly extravaganza, as per usual, featured a group of excellent singers performing some of Broadway’s most popular songs. But, in addition, this show featured great dancing and comedy routines. It is quite a tribute to Siegel that each month he is able to put together a one-time-only show, with so many gifted performers drawn from Broadway and the world of cabaret. His incisive comments between numbers tie the production together.

Jillian Louis opened the show with a very lively “Knowing When to Leave.” She would return later with her husband, Keith Varney, for a beautiful duet, their voices blending perfectly on “Make Believe.” Varney would also display his big bold voice with “Prologue” from Les Misérables. Baggy-pants comedian Bill Irwin had the audience laughing with his version of “Kids,” which included an old-fashioned soft shoe. Song and dance man Josh Israel has a strong singing voice and dazzled with his tap dancing to “Lucky to Be Me” and “All I Need Is the Girl,” the latter featuring a sensational tap-danced finish. Jenny Lee Stern’s very kinetic “Cabaret” was a very nice way to lead into Anderson’s closing number.

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