Sidney Myer – Lifetime Achievement Award Gala Celebration

By Alix Cohen

Sidney Myer is the beating heart of New York’s cabaret community, as much a part of its health and well being as the sun in the mornin’ and the moon at night. Iconoclastic performer, booker, mentor, teacher, and declared dear friend by uncountable artists (and civilians), this self effacing, wise, tender, talented man represents the best of us.

Tonight some of those who love Sidney (they wouldn’t all fit) jam The Cutting Room to acknowledge and say thank you. Many attribute the start of their careers to his advice and encouragement. The evening begins with a wonderful video montage of the honoree by Sidney’s partner, NYC filmmaker and videographer Michael Lee Stever. See link below. Host Michael Lavine reads congratulatory notes from Christine Pedi and Karen Mason working elsewhere.

Highlights:

Jeff Harnar’s wonderful original lyrics to the tune of “Rosie” (Charles Strouse)- plus patter! show formidable writing talent as well as signature wit. I love Sidney Myer/Don’t let him retire/I doubt you can match or replace ‘im/For forty- plus years/You’ve launched big careers/And when somebody’s new/You embrace ‘em…There’s no reasonable facsimile to Sidney.”

Tanya Moberly met Sidney in 1998 between musical theater gigs and is now helping “to take care of the house (Don’t Tell Mama) he built and welcomed me into.” Her rendition of John Kander/Fred Ebb’s “Cabaret” shoots vocal sparks with oomph.’

As a boy, Sidney aspired to meet: Peggy Lee, Judy Garland, and Marilyn Maye. Having accomplished the first two in passing, it’s clear he’s touched his friend Maye is here. Her original song calls him the king of 46th street and it’s clear/It’s a happy world when Sidney’s here… David Pearl- piano.

Bryce Edwards declares “I’m living my childhood dream because of Sidney Myer.” It was Myer who advised the young man to perform material to which his heart was drawn- to take the risk. Edwards and his ukulele serenade the honoree with a rendition of the eclectic “Help!” (Owen Murphy/Al Sherman 1925): Help! The girls are after me./Help! Don’t let’m capture me!.. It’s fast, precise, nasal; period perfect; FUN!

“In 1998, I won the Bistro for performing as Carol Channing. Sidney was sitting with his mom. When it was over, she turned to him and said, ‘she’s still got it- but she’s starting to show her age.’ Every word of Jerry Herman’s “World Take Me Back” emerges believable as performed by Richard Skipper.

Steve Brinberg’s version of “People” describes: …people who need Sidney… Less gracious/In rooms that aren’t spacious…His eyes are filled with such soul/ He’ll help you with any goal…The artist was doing an act as himself when Sidney egged him into performing “a drag Barbra show.” The rest, as they say, is history. Oh the voice!

Charles Busch thinks of Sidney in connection with his play, The Christmas Angel in which, for 25 years, he played Irish O’Flanagan, a tough as nails, acid-tongued chanteuse to Sidney’s Milton Keisler, a world weary, profoundly sentimental night club manager. “We played characters close to ourselves.” Noel Coward’s “If Love Were All” arrives as poignant truth. Jono Mainelli- piano

Ricky Ritzel (at the piano) met Sidney when he was working at the first Panache in the early 1980s. “He sat me down for the three hour (initiation) speech.” “Boy Do We Need It Now” (Martin Charnin/Charles Strouse), bemoaning diminished honesty, style, and class, might be an anthem. Sidney still carries that banner.

The honoree’s accompanist, Tracy Stark confides, “I consider Sidney one of my closest friends, but I know you all do too.” Peter Allen/Carole Bayer Sager’s “Quiet Please, There’s a Lady (a Sidney) on Stage” arrives with clever addendum: He’s been singing songs/Long before your consciousness was raised/Doesn’t that deserve/A little praise? She has us all clapping in time.

Lennie Watts, who did his first show at DTM, then worked there, reveals “Everything I know about cabaret, I learned from Sidney.” The performer sympathizes with the “real” Sidney in “One Cabaret Too Many” …one night’s sleep too few…(from “One Rock and Roll Too Many” – Andrew Lloyd Webber/ Richard Stilgoe.) It’s bluesy and funny; his imitation of Sidney, right on! Tracy Stark- piano

As a 12 year-old performer, Nicolas King hoped to do his first cabaret night at Don’t Tell Mama.” Sidney offered him four! That was 23 years ago. King makes it look easy. His “Johnny One Note” (Richard Rodgers/Lorenz Hart) is polished and engaging with a super arrangement and long notes like comets dragging fiery tails through heaven. Tracy Stark- piano.

“I’m flooded with decades of memories,” muses Lee Roy Reams.“This song expresses that.” “Old Friend” (Gretchen Cryer/Nancy Ford) surfaces with grace and heart. It’s warm, dignified and graceful: Love is rare/Life is strange/ Nothing lasts/People change…Sigh.

Pointing out that cabaret venues are too small for such as Sidney, Mark Nadler and KT Sullivan pull out all the vaudeville stops for “Catch Our Act at the Met” (Jule Styne/Betty Comden & Adolph Green) They’re an absolute, animated hoot and might consider doing an entire vaudeville show.

Also featuring:

“I would not be on this or any other stage tonight if not for Sidney,” opines Sue Matsuki. “Everybody Sing” (Walter Donaldson/Gus Kahn) is melodic, bouncy and bright: Let the sound of your voice/turn winter to spring… A grand way to open festivities.Frank Dain’s “I’ll Be Easy to Find” (Bart Howard) …when love comes looking for me… emerges tremulous with sweet feeling. “A cabaret performer could not have a better audience than Sidney Myer,” he proclaims. Too true.

Sidney welcomed, encouraged, and inspired 17 year-old Ethan Mathias’ as an adolescent. He’s 17 now and on his way thanks to bolstered confidence and good advice.“Not While I’m Around” (Stephen Sondheim) is bathed in gratitude.
Karen Akers’ decades of affection emerge as the sophisticated “Fun to Be Fooled” (Harold Arlen/George Gershwin-
Alex Rybeck- piano)

Well intended soprano floats above Renee Katz’s dissonant arrangement of “You and I” (Leslie Bricusse) “Every person has a teacher, for me these last 30 years, it’s been Sidney,” declares Carolyn Montgomery. The vocalist offers an appreciative original song whose lyrics end with contribution by her son: May all your soups be chowda/And your audiences clap louda. Jon Weber- piano.“Music That Makes Me Dance” (Jule Styne/Bob Merrill) is performed by Mark William. “Sidney is one of the best people, not just in the entertainment world, but in the world,” he enthuses. Matt Lowy- piano.

Shawn Moninger warmly sings the beautiful “On Borrowed Time.” (by David Friedman- also piano) Moninger ran lights and sound at Don’t Tell Mama 21 years before becoming a minister. He reflects on years of shared laughter and gossip. “Sidney ministers to the community. It’s not religious, it’s spiritual.” Seth Rudetsky was indulged with an overlong, inappropriate piano rendition of George Gershwin’s “Rhapsody in Blue”.

Sidney accepts the award from Linda Amiel Burns with a predictably gracious speech and a list of people to thank, beginning with his parents and ending with partner, Michael Lee Stever “Whom I waited a lifetime to meet.” Myer’s self- avowed motto lingers: You’ll find as long as you live/All you can hold onto is what you can give. (“You’ll Never Find Another Love Like Mine” – Lou Rawls)

The show ran smoothly despite hundreds of moving parts.
An extraordinary evening by any measure.

WATCH THE VIDEO MONTAGE:https://www.youtube.com/embed/zIo6_CkwctQ?si=PK-an113Bs3jdhd9″

Photos by Maryann Lopinto, Jeff Harnar, Alix Cohen

American Popular Song Society presents
Sidney Myer – Lifetime Achievement Award Gala Celebration/Benefit
Produced by Linda Amiel Burns and Glen Charlow
Michael Lavine- MD/Piano/Host; Michael O’Brien- bass.
Opening slideshow by Michael Lee Stever Media Productions
June 15, 2026
The Cutting Room 44 East 32nd Street https://thecuttingroomnyc.com/