Cabaret Review By Ron Fassler. . . .
“This is going to be all about Broadway musicals,” Norm Lewis exclaimed at the top of his electrifying show currently playing through June 13th at 54 Below. For 75 minutes, he held forth as host of “Norm Lewis: Summertime (Special Tony Edition),” in what he said was going to be a party. True to his word, what transpired was a joyous celebration of not only the Broadway songbook, but of his terrific talent, selflessly shared with his audience. It felt like there was nothing he wouldn’t do to provide a good time, never pushing, consistently relaxed and truly giving. It’s like hanging with an old friend; an old friend who just happens to have one of the best singing voices of anybody out there.
Norm Lewis has been in thirteen Broadway musicals since he made his debut as part of the ensemble of The Who’s Tommy in 1993. He followed that with major roles in Miss Saigon, Les Misérables, Chicago, Side Show, The Wild Party and The Little Mermaid, not to mention his Tony-nominated Porgy in Porgy and Bess and the title role in The Phantom of the Opera, the first African American actor to do so on Broadway. Possessing a rich baritone, he can also produce thrilling high notes worthy of any tenor. Simply put, it’s an instrument that is solely individual and sounding better the week after his 61st birthday than even he can probably explain.
During his set, it felt at times like Lewis was ready to take on the mantle of Tony Bennett (who never did a Broadway musical), or Sammy Davis Jr. (who did three) when he sang “I Gotta Be Me,” a hit recording of Davis’s from the score of 1968’s Golden Rainbow. He also shifted into the sounds of John Raitt or Alfred Drake, the epitome of leading men during Broadway’s Golden Age. And Robert Preston, performing a flawless rendition of “Trouble” from The Music Man. He even paid homage to the Leading Ladies—first names only, please—with “Don’t Rain on My Parade” (Barbra), “And I’m Telling You I’m Not Going” (Jennifer) and “Summertime” (Audra). But perhaps my favorite of this ilk was his hilarious turn as Ursula performing “Poor Unfortunate Souls” from The Little Mermaid, channeling both Pat Carroll from the cartoon and Sheri Rene Scott in the Broadway edition.
He dazzled with “Razzle Dazzle” (Chicago), lamented with “My Friends” (Sweeney Todd) and tenderly caressed with “Try to Remember” (The Fantasticks) in a mélange of musical melodies. All of this backed by a superb trio consisting of musical director Joseph Joubert (piano), Perry Cavari (drums) and Dylan Shamat (bass). Richard Jay-Alexander’s smooth direction provided both a well-structured evening as well as room for improvisation and audience participation, that sets a high standard. Other cabaret artists take note: directors can be invaluable.
The seven-night run features a different guest artist who duets with Lewis and then gets their own solo. Opening night was Melba Moore, followed by Stephen Schwartz, and at the Saturday evening performance that I attended, Marc Shaiman. Like Schwartz, a composer who also has talent to burn when performing their own material, Shaiman’s duet of “Butter Outta Cream” from Catch Me if You Can with Lewis was wonderful, as was a beautiful rendition Shaiman sang solo of “The Place Where Lost Things Go” from Mary Poppins Returns. Guest stars for the remaining four shows aren’t a secret, so if you need any extra icing on your cake, consider seeing Alice Ripley (June 10th), Will Swenson and Seth Rudetsky (June 11th), Brian Stokes Mitchell and Nova Payton (June 12th), and Oliva Hardy (June 13th).
Two of the best songs of the night were saved for last. Though not the biggest fan of the music from Phantom of the Opera, I have to admit to being mesmerized by Lewis’s “The Music of the Night,” sung with extraordinary control and exquisite sensitivity. I also had the opportunity to see him play the role in 2014 and the fact he sounds better ten years later is simply astounding. For his encore, we were treated to a simple and touching “Lucky to Be Me,” Leonard Bernstein, Betty Comden and Adolph’s Green’s gorgeous ballad from 1944’s On the Town. Eighty years after it was first written, Norm Lewis gave it a fresh take and new life. With four remaining shows, and if there is a ticket to be had, get on over to 54 Below and see the art of cabaret at its finest.
“Norm Lewis: Summertime (Special Tony Edition),” is playing seven nights at 54 Below, 254 West 54th Street, NY (June 6-13). For further information, please visit www.54Below.org.
Photos: Maryann Lopinto
