By Ron Fassler . . .
For those in the know, seventeen-year-old Charles Kirsch has been producing podcasts devoted to Broadway since the age of twelve. His “Backstage Babble,” named for the opening song in the Charles Strouse-Lee Adams musical Applause (1970), is now closing in on 250 episodes in which he interviews major theatrical figures of the past and present, an important and necessary archive for historians. His questions are often surprisingly deep for someone so young, but that’s Charles. He’s heading for Harvard in the fall where he will no doubt continue to impress.
Last night at 54 Below, to celebrate 5 years of “Backstage Babble,” Charles hosted an evening consisting of well-known players, several of them now in their eighties, as well as some not so well-known but equally talented. And even though a few may have had a little trouble getting up onstage, once hit with a spotlight the years melted away. Truly—no exaggeration. Sure, there may have been some stumbles with lyrics, but with so little rehearsal and in a live environment, anything can happen and with a generous audience such as this one, no one cared. It may have been odd for the sixty-year-old Craig Bierko to be the evening’s male ingenue, but there he was singing “Trouble” from The Music Man, which he performed with great distinction in Susan Strohman’s Broadway revival in 2000. Bierko got things off to a rousing start before ceding the stage to a few more “mature” singers.
One of the most treasured highlights of the evening was having an original cast member from Gypsy, which opened on Broadway in 1959. Lane Bradbury, who created the role of “that 5’ 2” bundle of dynamite” Dainty June, greeted us with (what else?), “Hello, everybody. My name is June—what’s yours?” She then launched into “Let Me Entertain You” and it was as if time stood still (she’s eighty-seven). She was positively amazing. The same thing occurred when Penny Fuller and Len Cariou, who co-starred with one another fifty-five years ago in Applause, graced the stage. Fuller acknowledged the recent passing of William Finn and sang his “The Music Still Plays On” a song she introduced in A New Brain (1998). Fierce and combative, Fuller gave it everything and received a sustained ovation. She was followed by Cariou, who sang Alan Jay Lerner and Charles Strouse’s “There’s Always One You Can’t Forget” from Dance a Little Closer (1983). Sadly, that show closed in one night, so getting to see Cariou sing it live, tenderly and with so much emotion, was a genuine treat.
Other “youngsters” who made welcome contributions were the always hilarious Jim Brochu, who dueted with the cabaret legend Steve Ross (himself on the piano keys, naturally), singing “Go Visit” from Kander and Ebb’s 70, Girls, 70. Meg Bussert, who was a darling soprano ingenue in the late 70s and early 80s, sang Frederick Loewe and Alan Jay Lerner’s “The Simple Joys of Maidenhood” from Camelot, Guenevere having been a role she played opposite Richard Harris on tour and then later on Broadway. Simon Jones essayed Henry Higgins, a role he played in productions of My Fair Lady from Florida to Michigan to New Jersey, and Karen Akers recreated Maury Yeston’s “My Husband Makes Movies,” the song she introduced in Nine. Having put in the hours over the years as a cabaret chanteuse, Akers was simply sublime, born to stand in front of a microphone in an intimate setting.
The same was true for Sally Murphy, who played Julie Jordan in the smashing 1994 revival of Rodgers and Hammerstein’s Carousel at Lincoln Center. Although primarily known as a dramatic actress, she was exceptionally good singing “What’s the Use of Wonderin’,” which makes perfect sense considering how deep that song goes. Others of the “younger generation” were well represented by Janine LaManna, who offered “Whoever You Are I Love You,” the beautiful Burt Bacharach-Hal David tune that was interpolated into the short-lived Broadway revue, The Look of Love, only to be cut from the show. She scored with it and gave a chance for David Loud’s beautiful arrangement to be heard. And Sara Gettelfinger, the original Young Edie in Grey Gardens, sang Scott Frankel and Michael Korie’s “Daddy’s Girl” with every bit of pathos she brought to it in its first off-Broadway production in 2006. Gettelfinger made the quite the case for starring now as Older Edie in a revival of Grey Gardens, something we desperately need (what a phenomenal score that show has).
The evening achieved ultimate liftoff with the finale when Annie Golden took to the stage. Once the lead singer of the punk band The Shirts, Golden is better known for roles on Broadway in musicals like Into the Woods (2022), Violet (2014), and Leader of the Pack (1985), a revue of Ellie Greenwich’s songs, the iconic composer of dozens of 50s and 60s classics. Performing the title song with three dynamite backups (Nadia Duncan, Jenna Lea Rosen, and Aeja Barrows), Golden and Company really rocked the joint and sent the audience home on a cloud of contentment.
There’s a full-circle aspect to Charles Kirsch, still a teenager, teaming up with these marvelous performers of a certain age. It reminds us of how important staying young is by doing what you love most. That love was certainly on display on the tiny 54 Below stage Monday night for all to see and hear, mirrored by an appreciative audience, thrilled to breathe the same air as these theatre “kids.”
“Backstage Babble” was presented on Monday, July 7th at 54 Below, 254 W 54th Street, NYC. For further information on upcoming programming, please visit www.54Below.com.
Photos by Ron Fassler.
Headline Photo: Len Cariou
