KT Sullivan Receives The Darrel Henline Award

By Alix Cohen

“If Con Ed could wire KT Sullivan, Manhattan would light up like Christmas. Vibrating even when perched, she might be a humming bird with wing speed too fast to observe. Her thoughts bubble up in short phrases, then move on quickly without looking back. KT says she knew she belonged here when, for the first time, she “finally met people who talk as fast as I do…”
I wrote the above fifteen years ago. Not much has changed.

One of eight children raised in Boggy Depot, Oklahoma, KT began her professional journey as one of The Sullivan Family Gospel Singers. Interests in language, history, and literature led her to matriculate in fine arts rather than music at The University of Oklahoma, though she studied German Lieder and French Art Songs.

Singing waitress jobs and commercials followed until her first cabaret act (as the newly “christened” KT) debuted at Los Angeles’s Rose Café. Eventually New York beckoned. KT began in revues and moved on to the Broadway revival of The Threepenny Opera. (Other Broadway would follow between cabaret gigs.) Mark Nadler booked her at Adam’s Rib Steakhouse and become her music director.

The artist’s first show at The Oak Room of The Algonquin Hotel was called Songs for a Summer Night. KT told me candidly that Stephen Holden’s review in The New York Times was awful. Rex Reed disagreed. Performer Sidney Meyer, who became the beating heart of Don’t Tell Mama, reassured her, “The word from the boys is they like you.” More importantly, Arthur Pomposello who ran The Oak Room, had enough faith to book KT consecutive summers.

It was on the national tour of Annie Get Your Gun, KT started wearing the hats. “The women in the show would take half an hour or more to get out of the dressing rooms because they were doing their hair. One day, I just put on a hat. I figure I save about 200 hours a year by putting on hats.” Now, she collects them.

In addition to performing in cabaret, KT has given concerts all over the world, worked in regional theater and made her West End (London) debut in the bilingual Vienna to Weimar. One Spring day in 1983, she sang “The Secret Service Makes Me Nervous”
(Irving Berlin) to an audience including President and Mrs. Reagan at The White House.

In 2012, Donald Smith, creator of The Mabel Mercer Foundation (and annual Cabaret Convention) died, passing the torch to KT who became the organization’s unflagging artistic director. It’s clear from testimonies during tonight’s award celebration that mentoring/helping performers didn’t begin with her new role. She was merely in a better position to exercise generosity.

Eric Michael Gillette, first recipient (2022) of the Henline Award opens festivities with “I’ll Jump” (Scott Burkell/Paul Loesel) which might describe this chapter of the honoree’s life: I could keep my routine/A life that’s serene/With comforting guarantees/Or go out on a whim/And take a swim/In deep and uncharted seas… Gillette offers a big, resonant voice and big feelings with a long note that surges like a geyser.

Sullivan has been a supporter of Nicolas King since he was 17. K stands for kindness, T= talent, S= support, he tells us. “I’m lucky to have her in my corner.” “I’m So Glad We Had This Time Together” (Joe Hamilton)/My Shining Hour” (Harold Arlen/Johnny Mercer) are apt expressions of gratitude. Songs arrive longlined, silky, sincere.

For Natalie Douglas, Director of Education at ASA, Sullivan has been a “friend, mentor, role model, and self appointed sister since 1989.” Douglas presents Lynn Ahrens/Stephen Flaherty’s “The Human Heart” with warmth enough to make the packed venue cozy.
Acting as back-up, adding texture and enthusiasm, are students Becca Supcoff, John Pintera, Brunson White and Thomas Kimes.

Sidney Myer quotes The New York Times on KT : “She’s whipped cream atop a very nutritious dessert.” Myer brings down the house with his priceless rendition of “Faith, Hope and Charity” (Forman Brown) Oh the timing, the expressions, the gestures! Laughter erupts.

Moipei (triplets Mary, Maggy and Marta) met KT when invited to an after party. She’s been an advocate ever since. Thanking her, the ladies add, “We can’t wait to pay forward all the love you’ve given us.” Richard Rodgers/Lorenz Hart’s “Wait Till You See Her” is performed in luscious, lyrical harmony.

Dr. Bradley Jones met the awardee 46 years ago at the Los Angeles Civic Light Opera as “two terrified, young theater kids…Besides music and cabaret, I think laughter may be KT’s métier… She has a penchant for the absurd, the improbable, and the deliciously inappropriate.” In his immensely eloquent tribute, Jones also speaks of Sullivan’s adoration of young people and her depth. “Without her my life would be less entertaining, less fun, and less meaningful.”

Mark Nadler, a Sullivan family adopted son, offers Cole Porter’s “You Got That Thing” in exuberant theatrical mode, replete with gestures, pauses, repetitions, eyebrows, and growls. ”KT Sullivan, your face would launch a navy,” he calls out. In her seat the honoree waves her feather boa.

President of ASA, Craig Pomranz, recognizes this year’s Pomranz Grant recipients – “to help performers start the process of rehearsing, appearing live, or recording their music.” This year’s appreciative winners are Jace Fogleman, Therese Lee, Ethan Mathias, and Dahlia J. Pravada.

“Thank you, KT. You see me. You know what’s goin’ on, says performer Diva La Marr. With Darnell White on piano and vocals,
Linda Perry’s “What’s Up?” emerges an appealing cross between Gospel and Motown. The song is so infectious, White has audience singing “he, hey, hey” with gusto and grins.

“KT and I go way back, to my birth in fact,” Stacey Sullivan quips. “She’s my biggest cheerleader and creative muse… The greatest lesson I learn from her is a positive outlook.” Recalling her sister’s early role as Giggling Gertie in a production of Oklahoma, the artist sings an unusual arrangement of “Oh What a Beautiful Morning” (Rodgers and Hammerstein) Every sighed lyric is believable.

“A three-act play would not contain her,” begins Eric Yves Garcia. “She makes show folk feel ritzy donors feel like artists. As her husband Steve Downey once said, ‘I love this woman. She dimensionalizes.” “I’m Glad There is You” (Jimmy Dorsey/Paul Madeira), replete with its verse, is musical musing in Garcia’s hands. The sentiment floats in on sensitive piano with earnest tenderness.

“How do I love KT? Let me count a few of the ways”, writes Steve Ross who alas, can’t be here tonight.”I’ve loved her for decades… her beautiful soprano , insightful administration, and encouragement of singers to celebrate themselves as well as the music. She has goodness, grace, and glamour.”

When Donald Smith put Jeff Harnar together with Sullivan in a Noel Coward show, Harnar responded, “But I’ve never sung Coward or worked with KT.” Pause. “Now you will,” Donald remarked. When KT had the idea to do a Sondheim show directed by Sondra Lee, he protested, “But I’ve never sung Sondheim or worked with Lee.” “Now you will,” came the response.“Too Marvelous for Words” (Richard Whiting/Johnny Mercer) summarizes this evening’s collective feeling. Harnar is classy and utterly genuine.

Executive Editor of Cabaret Scenes Frank Dain, wearing a fascinator in fellowship, then bestows the award. “I know how much Darryl appreciated you and your talent. No one deserves this more,” he tells Sullivan.

“When Donald Smith passed me the torch for The Mabel Mercer Foundation, I ran with it helped by the late, great Charles Bullock, who knew how to build a board of trustees. From the original board and now its chairman, Howard L. Morgan, continues the tradition.

Sullivan additionally thanked Operations Director, Jason Martin, and Managing Director, Rick Meadows for “making it possible for me to enjoy my job. I love the singers and the songs.”

Joined at the piano by her mother, Elizabeth Sullivan, writer and vocalist in her own rite, KT sings a wafting “Little Child” (Wayner Shnklin), the first number she performed at five years old. Elizabeth then offers a touching poem about the event.

KT performs a heartfelt tandem “While We’re Young” (Alec Wilder/ Morty Paliz) and “I’m Glad I’m Not Young Anymore” (Alan Jay Lerner/Frederick Loewe) with droll emphasis on the latter. Mark Nadler, piano.

The show closes with a Sullivan family performance of “Where My Picture Hangs on the Wall”, a poignant song about home by Elizabeth Sullivan. Brother Pat, sister Stacey, and Elizabeth herself stand arm in arm onstage united in love, support, pride, and talent: Where my picture hangs on the wall/And my troubles don’t worry me at all…I can always go home… “I think of the cabaret community like a small town,” KT Sullivan comments as the room rises in applause.

Darrell Henline (1928–2003) was the founder of Cabaret Scenes magazine as well as its original editor and publisher until he passed. Keith Meritz, an ASA board member and here tonight, was his life partner and became the publisher after Henline died, and when he stepped down, Peter Leavy took over until he too passed.

Opening Photos – Alix Cohen

KT Sullivan- The Darrell Henline Award
Presented by the American Songbook Association and Cabaret Scenes Magazine
MD- Jon Weber
Announcer- Carolyn Montgomery, Executive Director of ASA
Award Presenter- Frank Dain, Editor in Chief, Cabaret Scenes
The Green Room 42
May 17, 2026