Broadway Unplugged
Broadway Unplugged
The Town Hall, NYC, July 25, 2016
Reviewed by Marilyn Lester for Cabaret Scenes
In the not-too-distant future there will be a time when no living soul remembers the era before microphone-enhanced performance—and that will be a profound pity. Broadway Unplugged harkens back to those golden days when voices were expected to carry to the balcony without help. Producer/director/host Scott Siegel fondly describes this marvelous show as having “sound design by God.” The acoustics of The Town Hall lend themselves to the effort admirably, helping to create a very special experience. Leading off the evening was tenor Bill Daugherty with “I Am What I Am.” He later appeared in a brilliant duet with baritone William Michals on “Lily’s Eyes.” For a solo, Michals, who has a big, remarkably resonant voice, gave luster and enormous depth to a beautifully phrased and empathically felt “The Last Time I Saw Paris.” Chuck Cooper, the Tony Award-winning baritone with another gorgeous vocal instrument, performed a hilarious rendition of “Your Feet’s Too Big” and, later in the evening, a serious, delicate and beautiful “Lost in the Stars.” Tom Wopat shone with “Look Around,” accompanying himself on guitar.
The beauty of the unamplified voice was also apparent in Kyle Scatliffe’s “This Nearly Was Mine,” Ryan Silverman’s “You’ll Never Walk Alone,” and Douglas Ladnier’s “If Ever I Would Leave You.” Tenors Brian Charles Rooney and Joseph C. Townsend hit “Softly, As in a Morning Sunrise” (in original tango arrangement) and “This Is the Moment,” respectively, squarely on the mark. On the distaff side, Alix Korey provided laughs with “Lesbian Love Story,” Molly Pope continued her adventure into outré with her version of “Broadway Baby,” and Jeannette Bayardelle belted au natural “Fools Fall in Love.” Also memorable was Pepe Nufrio’s “It All Fades Away.” The Broadway by the Year Chorus of fifteen young voices ended this splendid evening with “Climb Ev’ry Mountain.”
Hats off to Siegel. The unaided voice allows the performer to connect more authentically with an audience and enhances and heightens the meaning of the lyric. The intimacy of the experience is a thing of beauty, as the wildly appreciative audience would attest. Musical Director Ross Patterson played his proven lush and soulful piano, while Tom Hubbard played bass and Mairie Dorman added texture to the music on the cello.
Category: Cabaret Reviews, New York City, New York City Cabaret Reviews, Regional
