By Ron Fassler . . .
The fourth in a series (number five is coming), Robert W. Schneider’s salute to classic American musicals is strictly by the book. Meaning, that among his many credits, he is the co-editor (with Shannon Agnew) of Fifty Key Stage Musicals, the tome that formed the basis for a delightful one-night only event at 54 Below. Schneider hosted and his musical director, Michael Lavine, was quick to point out at the top of the show that this was Schneider’s 200th producing gig on that tiny postage stamp-sized stage. Fairly bursting with talent, seventeen men and women sang and gave sterling renditions of mostly well-known songs, considering the sources are among the greatest musicals of all time.
In full disclosure, I contributed a chapter to Fifty Key Stage Musicals (the one on A Chorus Line), but since they didn’t sing anything from that show, rest assured I am fully capable of offering an unbiased account of the evening. Probably not going to do that, but again, I am fully capable of it.
The concert was also live streamed with audiences tuning in from Australia and Japan, which I heartily applaud in terms of getting out the all-important message that there’s a history to follow for those interested in musicals. Schneider provided easy-to-digest brief intros to the dozen songs (including two medleys) proving that genial hosts don’t come any more genial. Michael Lavine provided expert piano accompaniment, joined by Nicholas Urban (drums) and Sean Decker (bass).
For the first number, Erin Hill and her harp made it to the stage for “Much More,” the beautiful “I want” song from The Fantasticks. Sung by Sara Jean Ford, who played Luisa in its 2006 revival, made sure to include Hill, the harpist from that production. For as Ford explained it, the song and its monologue cannot be done properly without its essential harp accompaniment. It felt appropriate to start with an off-Broadway show, proving the point that not every great musical needs to have played between 41st and 66th Streets. Also, it made a fitting tribute to Tom Jones, the show’s author and lyricist, who died last week and also directed the 2006 revival in addition to appearing in it. What a loss to the theatre, even at ninety-five years of age.
From 1905’s The Merry Widow to 2015’s Fun Home, the one hundred and ten year span marked the extensive range of material. Brian Michael Henry turned in a marvelous performance singing “You’ll Find Me at Maxim’s” from Merry Widow. We were also treated to alternate lyrics that Lorenz Hart had written for the 1934 film version that starred Jeanette MacDonald and Maurice Chevalier. Fun Home’s “Changing My Major” was done by Kali Evonne, who was the first person to play the role of Medium Allison in an amateur production (and in her own hometown, no less). She displayed significant skills to show she must have been quite good in it.
Most of the faces were new to me and their voices impressive. Daniel Assetta sang “Something’s Coming” from West Side Story with a strong tenor (he played Tony in his native Australia in the Sydney Opera House as well as in Germany). Richard Spitaletta sang “Waving Through a Window” from Dear Evan Hansen with purity of purpose and Chris Richie charmed with “What More Can I Say?” from Falsettos.
Of the more assured veterans, Steve Rosen was delightful playing both Benny and Nicely in the title tune from Guys and Dolls (he played Benny in the 2009 Broadway revival). Allison Blackwell, who sang in the ensemble in the 2012 revival of Porgy and Bess, offered a thrilling “Summertime” in all its glory. And LaDonna Burns gave us “I Am Changing” from Dreamgirls that pulled out all the stops.
Also on hand were Eric Siegle and Jack Hale with “What You Own” from Rent and Ryan Austermann, Mike Cefalo, Jonathan David Steffins and Jake Urban crooned as the Four Seasons in a medley from Jersey Boys.
In the 11:00 o’clock spot (coming damn close to 11:00) was Lee Roy Reams, the beloved Broadway actor/singer/director, who gave a lesson in stage presence and musical theatre panache. Not only did he sing a medley from Hello, Dolly!, a show he has had a close association with for almost forty years, but he exquisitely acted two monologues; one for Cornelius and one for Dolly. It was joyous to experience such craftsmanship with material that he knows like the back of his hand. From Sara Jean Ford’s opening monologue to Lee Roy Reams’s closing ones, the pair of perfect bookends closed out a wonderful evening. www.54Below.org
Photos: Ron Fassler
Featured Image: Lee Roy Reams
