By Andrew Poretz . . .

When you name your foundation after a long-gone, legendary performer whose actual work is largely unknown to those not of a certain age, it’s a good idea to periodically honor that person by playing their music. For the first night of the Mabel Mercer Foundation’s 37th Annual Cabaret Convention, held at the Frederick P. Rose Theater at Jazz at Lincoln Center, they did just that with “Once In a Blue Moon” A Tribute to Mabel Mercer, with some of the best performers in cabaret performing songs associated with Mabel Mercer (with a few exceptions). Mercer, who passed in 1984 at the age of 84, was known as a “singer’s singer,” a performer who influenced countless performers, notably Frank Sinatra (who credited Mercer for influencing his phrasing), Leontyne Price, Tony Bennett, Billie Holiday, Bobby Short, and many more.

Though Mercer had a fine, trained voice when younger, in her later years she spoke many of her lyrics with a regal British accent, utilizing unparalleled storytelling skills.

There were many pianists accompanying the artists, with Jon Weber the musical director for the evening. Ritt Henn and Sherrie Maricle provided bass and drums, respectively, for all of the performers except where indicated.

MOPEI, the popular Kenyan triplets identical in appearance and voices, opened the show with “Once In a Blue Moon” (Robert Byrne/Tom Brasfield), and also opened the second set with “Wait Till You See Her” (Richard Rodgers/Lorenz Hart).

Hosts Jeff Harnar and Andrea Marcovicci were dressed to the nines. They created a marvelous opening night. Their charming host medley of “Feelin’ Groovy” (Paul Simon) and “Lookin’ at You” was enhanced by a four-part harmony ending with vocal help from Weber and Henn. Rather than rotate the performers throughout the evening, each performer appeared once with two songs, a medley, or one longer piece.

Marissa Mulder, radiant in a reflective gown, lent her unique voice to “Chase Me Charlie” (Noël Coward) and a waltz, “While We’re Young” (Alec Wilder, Morty Palitz/William Engvick), dedicating her performance to one of her mentors, the late Sondra Lee, who passed earlier this year at 97. Her old-school delivery was cute and endearing.

Barbara Brussell performed a lovely “Mira” (Bob Merrill) in a musical theater style, followed by Stacy Sullivan’s poignant, emotionally affecting take on “Jenny Rebecca” (Carol Hall). Sullivan also related a wonderful story about how the naïve songwriter delivered the song to Mercer in a most improbable manner, and how Mercer immediately performed the song.

Karen Akers is a performer who is somewhat reminiscent of Mercer in her storytelling style. She has an extraordinary ability to connect emotionally and induce tears. Her song choices were unique and compelling, particularly Noel Coward’s “Matelot” (“a very different sort of song”), the kind of material only Akers can do justice to. She followed this with a medley of “Try To Remember (Harvey Schmidt/Tom Jones) with “Feuilles Mortes” (Joseph Kosma/Jacques Prévert) (the original French lyrics to “Autumn Leaves.” She was in excellent voice, accompanied only by Alex Rybeck, who telegraphed the second song by playing its chords as a prelude to “Try to Remember.” Akers’ use of silence was brilliant.

Amanda McBroom was excellent on “Remind Me” (Jerome Kern/Dorothy Fields) and “Blame It on My Youth” (Oscar Levant/Edward Heyman), with Gerald Sternbach on the piano.

The one and only Sidney Myer was his usual brilliant, funny self on “I’m Glad I’m Not Young Anymore” (Frederick Loewe/Alan Jay Lerner), with Tracy Stark on piano.

Tovah Feldshuh, who typically does these shows quite comedically and in character, surprised by performing “Confession” (Howard Dietz/Arthur Schwartz) and “Ev’ry Time We Say Goodbye” (Cole Porter) as herself, with James Bassi on piano. While still funny – she cannot help herself, really – she revealed quite the beautiful, trained voice. For the latter song, she told the story of her father being shipped out to serve in World War II, and incorporated part of Irving Berlin’s “What’ll I Do” into the song.

The great Clint Holmes told his origin story, revealing some astonishing things in common with Mercer, to set up his original, very personal song, “1944.” He closed out the first act with a jazzy “It’s Alright With Me” (Cole Porter), which was especially welcome after so many ballads.

In the second act, Phillip Officer performed “Look At ‘Im” (Bob Merrill), accompanied by Larry Yurman on piano, while looking at a bemused Ritt the entire time. After Officer was surprised with the Donald Smith Award and gave a lovely speech, he performed “Fly Me to the Moon” (Bart Howard) in its original ballad style (originally entitled “In Other Words”). He read a letter Sinatra wrote to Mercer, and spoke of Bart Howard’s close relationship with Mercer.

Meg Flather, with Tracy Stark at the piano, was charming with a medley of “On a Clear Day” (Burton Lane/Alan Jay Lerner) and the cute “Wait ‘Til You’re 65” (Burton Lane/Alan Jay Lerner), a Mercer signature song.

Francesca Amari slowed down the usually breezy “Wouldn’t It Be Loverly?” (Burton Lane/Alan Jay Lerner), pairing it with “Little Girl Blue” (Richard Rodgers/Lorenz Hart), accompanied by Gerald Sternbach.

The deep-voiced Avery Sommers performed “The Way We Were” as a slow, bluesy ballad, with Doyle Newmyer on piano.

Years ago, the late Mabel Mercer Foundation founder Donald F. Smith encouraged had Jeff Harnar to listen to Mercer’s Cole Porter album. Harnar performed an upbeat arrangement of Porter’s “De-Lovely,” singing some lyrics that are rarely performed. He threw in a little Jimmy Durante impression here and there. Harnar, as always, brings class and verve to whatever he does. This was one of the best numbers of the evening.

Andrea Marcovicci returned, holding a beautiful pink shawl that belonged to Mercer. She revealed she had never worn it, “till now.” She sounded great (and oddly Irish) on the charming “Did You Ever Cross Over to Sneeden’s?” (Alec Wilder), with Gerald Sternbach on piano.

The irrepressible Charles Busch noted that Mercer performed Joni Mitchell’s “Both Sides Now” right after it came out. He performed it in a slow and overly dramatic, almost Shatner-esque style, accompanied by pianist Jono Mainelli.

The “G.O.A.T.,” Marilyn Maye, at 98 has more voice and more energy than singers half her age. With Tedd Firth on piano, she performed a spectacular medley of “My Romance” (Richard Rodgers/Lorenz Hart), “Why Did I Choose You?” (Michael Leonard/Herbert Martin) and “That’s All” (Alan Brandt/Bob Haymes) garnering a big standing ovation.

The convention’s opening night offered was well done, with several outstanding performances, though an overabundance of ballads occasionally slowed the momentum.

The 37th Annual Mabel Mercer Foundation’s Cabaret Convention was held at Frederick P. Rose Theater at Jazz at Lincoln Center, 10 Columbus Circle, New York City.

Photos: Richard Termine, except cover photo by Andrew Poretz