“The Best is Yet to Come: A Celebration of Cy Coleman”

OPENING NIGHT- The 36th New York Cabaret Convention

By Alix Cohen

Weeeeeeere back! Under the aegis of the venerable Mabel Mercer Foundation, the cabaret community gathered once again to support and celebrate live music. Vocalists of all ages and styles entertained fans familiar and new.

“The Best is Yet to Come”- A Celebration of Cy Coleman Hosts: Jeff Harnar and Andrea Marcovicci

Before a memorable Broadway career, Cy Coleman (Seymour Kaufman) 1929-2004 performed classical piano as a child prodigy between ages 6 and 9, led The Cy Coleman (jazz) Trio, and successfully assembled a catalog of popular music. The musician/ songwriter/ producer, enthusiastically juggled multiple projects until his death. He won five Tonys, two Grammys, and secured an Academy Award nomination.
“The only way to keep writing is to keep writing.” Cy Coleman

Who better than Carole J. Bufford to open the evening’s tribute with “Hey Big Spender.” (Sweet Charity) Knees turned in below hip-shimmying fringe, arm insouciantly draped on the microphone stand, vocal beckons The persuasive Bufford could give lessons in sizzle. Ian Herman piano.

Hosts Jeff Harnar and Andrea Marcovicci, in their 11th year of collaboration, welcome us with a playful rendition of “Doodle Song”, followed by the composer’s go-to party number, “Some Kind of Music.”: “All I want is some kind of music in my ear…” Nicolas Perez and band contribute jaunty back-up vocals.

Later, Harnar offers “Witchcraft” with creamy finesse and unexpected falsetto. Alex Rybeck- piano. Aaron Heick- sax. Marcovicci performs “Isn’t He Adorable” as if “he” was backstage. A lovely note from the celebrant’s wife is read aloud.

Bryce Edwards, without his Frivolity Hour band, showcases consummate 1920s style on the vaudevillian “Hey There Good Times”
(I Love My Wife.) Eyebrows up, eyes wide, the artist plays banjo and (around his neck), a 1900 Songophone Kazoo like nobody’s business. Convention debut. Jon Weber on gleeful piano.

Nicole Zuratis’ version of “I Walk a Little Faster” lands too dramatic for lyrics. A slow dance version of “Why Try to Change Me Now?” by Jonathan Karrant is sensitive, but closed eyes shut us out. Jon Weber piano. Eden Casteel’s “Veronique” (Madeline Kahn – On the Twentieth Century) teeters on caricature.

Long time editor of Cabaret Scenes, Frank Dain, sings a palpably tender “Come Summer” (Our Man Flint) Kathleen Landis –piano. Director of American Songbook Association, Carolyn Montgomery’s “Rules of the Road” is earthy and bruised. The song is associated with Rosemary Clooney, subject of Montgomery’s most recent show. Convention debut. Jon Weber- piano, Warren Vache – trumpet, Jonathan Kantor- sax

Eric Comstock (Vocal/piano) and Barbara Fasano decant the wistful “Little What If” and well calibrated “When in Rome.” Ever sophisticated, jazzy yet melodic, the pair reflect as much respect and affection as talent. Dedicated to the great Tommy Tune, Richard Skipper, in signature sequined jacket and footwear, delivers a buoyant “It’s Not Where You Start” (Seesaw) Fun! Convention debut. Michael McAssey- piano

A trenchant “You There in the Back Row” (13 Days to Broadway) is performed by Ari Axelrod who looked towards the balcony or, perhaps, God. “Show me dreams come true,” he plaintively sings. Aware of the artist’s commitment to Israel, it’s impossible not to project the latter.

Karen Akers’ “The Colors of My Life” (Barnum) emerges as if out of personal history- proud, tremulous, satiny. The actress inhabits lyrics. Alex Rybeck – enchanting arrangement; piano. Craig Rubano’s interpretation of “The Other Side of the Tracks” (Little Me) manifests guileless aspiration. Thirty years melt away. We believe every word. Beth Ertz- piano.

Karen Mack’s silky “Baby Dream Your Dream” Michael McAssey- piano, prefaces “The City of Angels Overture” as performed by The Angel City Four: Amy London, Rachel and Steve Weisbart, and Peter Davis, all of whom were involved in the Broadway production. This is probably the only noir scat written for a musical. Convention debut. Original Broadway arranger, Yaron Gershovsky – piano, Ron Horn – trumpet

Those Girls: Karen Mack, Eve Eaton, Rachel Hanser, and Wendy Russell, harmonize on a vivacious, skillfully arranged “The Rhythm of Life” (Sweet Charity) Steven Ray Watkins – piano

Marta Sanders’ “Here’s to Us” packs a wallop. ‘A good song to be performed after the next No Kings demonstration. Superb vocal is clarion, not brassy. Sanders’ frequent collaborator (in Show Broads), Leanne Borghesi, swathed in the hottest pink and marabou, renders “You Can Always Count on Me’ (City of Angels) with honeyed heat and pizzazz.

“Pink Taffeta Sample Size 10”, a song gifted to Tovah Feldshuh by Cy Coleman, is delicately performed by the girlishly dressed artist.

Ann Kittredge’s “With Every Breath I Take” (City of Angels) showcases impeccable control and emotional phrasing. Her gown is equally awesome. Christopher Denny- piano. Donna McKechnie, who played the title role in the national tour of Sweet Charity, warms the room with a poignant “Where Am I Going?” in pristine voice. Ian Herman- piano

Showman extraordinaire, Lee Roy Reams sings three songs from Sweet Charity in which he made his Broadway debut. Brio is omnipresent. Alex Rybeck – piano. Reams is then recognized with the much deserved Mabel Mercer Lifetime Achievement Award. Huzzah!

Jeff Harner and Andrea Marcovicci’s enthusiastic “Hey Look Me Over” (Wildcat) leads to “The Best is Yet to Come”, convincingly declared by Ann Hampton Callaway. The artist aptly calls Coleman “an urbane optimist.” Audience collectively snaps fingers to her infectious rhythm. Jon Weber-piano

An entertaining evening with a broad range of material and smoothly produced.

Unless otherwise noted, tonight’s house band: Nicolas Perez MD/piano, Steve Doyle Bass, Ron Tierno- drums.
Photos by Richard Termine
Opening: Nicolas Perez, Steve Doyle, Jeff Harnar, Andrea Marcovicci, Ron Tierno

Rose Theater October 21, 2025