concert review - VANESSA WILLIAMS WITH SETH RUDETSKY - Scottsdale Center for the Performing Arts - April 7, 2018

"The final concert in this year's "Broadway @ Scottsdale Center for the Performing Arts" series featured multiple Grammy, Emmy and Tony nominee Vanessa Williams. While Williams may not have as vast a Broadway career as past performers in this series, her life story, which has its fair share of ups and downs, is incredibly fascinating. Williams' down to earth and honest conversation about her past was equally matched by her warmth, style, and rich vocal delivery of numerous show tunes and pop hits she's performed over her thirty-year career... " -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

concert review - Rob Kapilow: What Makes It Great? Finishing the Hat: The Songs of Stephen Sondheim - Scottsdale Center for the Performing Arts - March 15, 2018

"I believe that Stephen Sondheim is the most influential Broadway composer of the past 50 years. He is a writer who is frequently praised for his intricate, complex and succinct lyrics that perfectly state what his characters feel and want to say. But what about his music?
Last week Rob Kapilow, a composer and teacher who for over 20 years has presented his "What Makes It Great?" series of concerts, was in Scottsdale to explore the musical structure of Sondheim's work in an evening that delved deep inside four of Sondheim's songs. Kapilow's concerts deconstruct and explore the music of famous composers, both classical and contemporary. This one was an eye-opening view into the mind of a brilliant musician..." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

concert review - KELLI O'HARA - Scottsdale Center for the Performing Arts - January 27, 2018

Kelli O'Hara
Photo by Laura Marie Duncan

"This past Saturday night kicked off the first of four concerts in the 2018 "Broadway @ Scottsdale Center for the Performing Arts" series with a sublime evening of song and story featuring Tony winner Kelli O'Hara. The series features popular Sirius XM radio host Seth Rudetsky as host and pianist, with a different Broadway performer each evening. Rudetsky draws on his expert knowledge of Broadway to engage each guest to speak about their experiences in an informative and spontaneous conversation in between songs. O'Hara's charming and spunky personality and soaring voice brought both plenty of laughs and poignancy during the discussion and her sublime and pristine vocal abilities were rewarded with not only applause but also a prolonged standing ovation at the end of the evening....Future dates for shows in this year's season of "Broadway @ Scottsdale Center for the Performing Arts," are Megan Hilty on February 24, Kristin Chenoweth on March 17 and Vanessa Williams on April 7.. " -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

concert review - THE MUSIC OF JOHN WILLIAMS - Phoenix Symphony Orchestra - May 14, 2017

by Gil Benbrook

I don't believe there is another film composer that has written as many instantly recognizable themes as John Williams. The recipient of a vast number of awards, including five Oscars and four Golden Globes, with 50 Academy Award nominations Williams is the second most nominated person in Oscar history with only Walt Disney with 59 nominations ahead of him. Williams won Oscars for his soundtracks to Jaws, Star Wars, Schindler's List and ET and he also composed the scores for Superman, Raiders of the Lost Ark and the first three Harry Potter films. With the four recent concert performances of John Williams' music by the Phoenix Symphony Orchestra and another series of concerts already scheduled for next season, the popularity of John Williams is clearly not diminishing in the Phoenix area.

Under Robert Franz's fun, personable and passionate conduction, the Phoenix Symphony performed both many beloved and recognizable themes as well as some slightly lesser known selections from Williams' oeuvre. The playing by the Phoenix Symphony Orchestra throughout the entire concert was superb.

The audience was thoroughly entertained by a trio of Star Wars selections, including one of Williams' most recent compositions, "Scherzo for X-Wing" from The Force Awakens along with "Across the Stars" from Attack of the Clones and The Imperial March from The Empire Strikes Back, which ended the first half of the concert and featured Franz dueling with Darth Vader on stage. But the full crowd was equally as moved by some of Williams' non-film compositions. These included the rousing "Summon the Heroes," which was written for the 1996 Summer Olympics in Atlanta, and the sweeping and beautiful "Liberty Fanfare" which Williams wrote for the Centennial of the Statue of Liberty.

Steven Moeckel's expert violin solos brought a brightness and clarity to the romance filled Tango ("Por una Cabeza")  by Carlos Gardel as well as delivered a seriousness in the simplicity of "The Theme from Schindler's List." Moeckel's dedication and expert playing was matched by every other musician on stage at the Orpheum Theatre.

Other selections included a quartet of film flying numbers that soared to the ceiling of the Orpheum and which featured a beautiful woodwinds only arrangement of "Nimbus 2000" from Harry Potter and the Sorcerer's Stone, along with that film's "Hedwig's Theme," Hook's "Flight to Neverland" and "Adventures on Earth" from ET: the Extraterrestrial. While "The Raiders March" from Raiders of the Lost Ark is instantly recognizable, Franz and the PSO proved that some of Williams' other film selections are just as iconic. These included the stunning "The Devil's Dance from The Witches of Eastwick and the moving, brave and courageous "Hymn to the Fallen" from Saving Private Ryan. The Cowboys Overture, with its old West style is a prime example in how Williams is able to adapt his compositions to any type of film to help an audience instantly connect with the movie's time and place.

Williams is also a master in ensuring his arrangements draw upon the vast capabilities of the orchestra. He elicits heroic notes from the brass section while continually drawing upon the strings to evoke a sense of flight that send us soaring into space. He also instills a sense of longing or desire from his succinct ability to draw stunning notes from instruments such as the French horn, flute and oboe. It is his ability to know exactly which instrument will deliver the feeling that each moment needs to deliver the feeling of the screen character or action moment that has truly made Williams into the

The popularity of Williams will continue as next season includes another set of concerts solely dedicated to his compositions in May, another concert with music from both the Star Wars and Star Trek universes that will feature some Williams selections, as well as weekends in October and January where the first two Harry Potter films that Williams scored will be shown with full orchestra accompaniment.

”The Music of John Williams” with the Phoenix Symphony played four performances on May 12th, 13th and 14th, 2017 at the Opeheum Theatre in Phoenix. Information for upcoming performances with the Phoenix Symphony can be found at http://www.phoenixsymphony.org.

concert review - LEA SALONGA WITH THE PHOENIX SYMPHONY ORCHESTRA - May 5, 2017

Lea Salonga

"...Lea Salonga's recent concerts with the Phoenix Symphony Orchestra featured exceptional singing from Salonga and skilled playing from the PSO on excellent renditions of many songs associated with Salonga as well as numerous other hits from the Broadway and pop songbooks.

Lea Salonga won the Tony and Olivier Awards for her role of Kim in Miss Saigon and also sang for two Disney princesses, in the films Aladdin and Mulan. The passion she brings to songs from the musicals and films she has appeared in is just as strong when she sings songs for roles she didn't originate. She also makes sure that the meaning of every word she is singing is delivered with clarity. ...she still instills each word of the song with power...in "I'd Give My Life for You" from Miss Saigon, which is the passionate plea of a young mother that is also filled with pain and anger. "Reflection" from Mulan and "Burn" from Hamilton, while two very different songs, both focus on how a woman can become strong when faced with adversity and forced to stand alone without a man by her side. Three Stephen Sondheim songs, "Send in the Clowns" from A Little Night Music, "Another Hundred People" from Company, and "Something's Coming" from West Side Story (music by Leonard Bernstein), also were a testament to Salonga's ability to inflict nuance and complete understanding on lyrics that are filled with soul searching, desire, and personal inflection. On all of these songs, as well as the other songs she sang, her enunciation was flawless and her punctuated delivery of each lyric was filled with meaning....two numbers from Les Misérables...were simply exceptional. ...In addition to musical and film songs, Salonga also included a medley of numbers written by Michael Legrand and Alan and Marilyn Bergman featuring a lovely version of the Oscar-winning "The Windmills of Your Mind" and a soaring "A Piece of Sky" from the film Yentl...Salonga's stellar vocal control is full of power, precision and clarity. Her warm stage presence, clear connection with both the audience and the orchestra, personal stories, and spontaneous interjections made the whole affair genuine and refreshing..." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

concert review - JOHN PIZZARELLI & JESSICA MOLASKEY - Scottsdale Center for the Performing Arts - March 19, 2016

John Pizzarelli and Jessica Molaskey

 "The musical intersection where jazz, Broadway, and the Great American Songbook meet is a most happy one under the assured musicianship of John Pizzarelli and Jessica Molaskey. The married duo performed at the Scottsdale Center for the Performing Arts last weekend in a simply sublime evening of Pizzarelli's exceptionally skilled guitar playing and Molaskey's solid vocals. Backed by an outstanding jazz trio...Pizzarelli and Molaskey delivered a two-hour concert of varied songs, including several standards, some pop hits by Paul Simon and Paul McCartney, and several showtunes by Stephen Sondheim. While Pizzarelli's intricate guitar playing takes the focus on many of the songs it is Molaskey's reflective vocals that add depth and layers, and even play off of and echo John's exceptional guitar skills. Pizzarelli and Molaskey are about to celebrate their 20th anniversary together...Many of the songs in their concert commented on relationships, and the playfulness and self-deprecating humor of the couple was a natural fit for many of these songs. ..The biting yet humorous cynicism of Sondheim's "The Little Things You Do Together" from Company served as a playful commentary between the couple. His "Children and Art" from Sunday in the Park with George and "Children Will Listen" from Into the Woods served as a reminder of the importance of instilling both art and children with the right level of responsibility, since they are what artists and parents leave behind when they are gone....Some standards were also featured in the evening, including a lovely pairing of "You Made Me Love You" and "It Had to Be You." ...Three songs from decades ago that focus on death, dread, and doom (Paul Simon's "The Boy in the Bubble" from his Graceland album along with his "Late Great Johnny Ace" and Billy Joel's "Summer, Highland Falls") were combined and turned into a contemporary view of the world...But it was a song from over seventy years ago that served as the highlight of the evening. John sang Rodgers and Hammerstein's "You've Got to Be Carefully Taught" from South Pacific with only his own guitar accompanying him in a folksy version of the song. It was a stirring delivery that served as a reminder of how we all need to make our own decisions about our fellow human beings and not listen to our parents or our politicians and their potentially racist views. Jessica commented that she asked John to sing it that night. The fact that the concert happened just hours after Donald Trump's speech less than 20 miles away did not go unnoticed."  -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

concert review - THE GERSHWIN EXPERIENCE: HERE TO STAY - March 11, 2016

 "The Gershwin Experience: Here to Stay is a concert that has been making the rounds of symphony orchestras across the country over the past few years. Featuring some of George Gershwin's greatest works, the evening also includes archival photos, images, and home video from the Gershwin estate projected over the stage that add further dimension to the music in this celebration of the legacy and genius of George and his brother Ira. The recent Phoenix Symphony Orchestra presentation was full of rich, distinctive playing. Under the guidance of conductor Dirk Meyer, who was making his premiere appearance with the Symphony—and what a distinctive and impressive premiere it was—the PSO sounded exceptional. The highlight of the evening was their superb performance of George Gershwin's "An American in Paris." ...Guest vocalists included Lisa Vroman and Rick Faugno...While Vroman's legit, operatic voice was a bit at odds with Ira Gershwin's playful lyrics in a couple of selections, her rendition of "Summertime" from Porgy and Bess was one of the best versions I've ever heard....Faugno...displayed surefooted vocals as well as some fancy, skilled footwork in the style of Fred Astaire and Gene Kelly, both of whom worked with Gershwin. His dancing and singing during "Fascinating Rhythm" and "Slap that Bass" were exuberant....An encore of "Love Is Here to Stay," the last song George Gershwin wrote, was a poignant and fitting end to the concert. Having died so young, at just age 38, George Gershwin's music is full of life, wit, and sophistication and, like the encore song and the title of the concert, the Phoenix Symphony Orchestra and guests proved that his music is most definitely here to stay."  -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

concert review - JASON ALEXANDER WITH THE PHOENIX SYMPHONY ORCHESTRA - January 31, 2016

"While Jason Alexander is best known for his award-winning portrayal of George Costanza on TV's "Seinfeld," he actually got his start on Broadway, having now appeared in six Broadway shows. Those who only know him from "Seinfeld" might be shocked to learn that before he became famous through that TV series he won a Tony Award for Best Actor in a Musical in 1989 for Jerome Robbins' Broadway. Alexander recently performed two concerts with the Phoenix Symphony Orchestra where he got to show off both his musical theatre chops and his beloved comic skills.
Alexander's clear, exceptional singing voice and his agile dance moves perfectly combined with his natural comedic abilities throughout the concert. His ease in connecting with an audience was apparent through his ability to win them over, which was punctuated with his humorous, self-deprecating patter. The 80-minute act was a journey through Alexander's life, focused mainly on the musicals and artists that were significant to him when he was growing up. While the opening song, "So Exciting For You," which Alexander wrote, was very tongue in cheek in how it commented on how excited the audience should be to see him, it also set the tone for the entire concert—humorous yet  heartfelt.Alexander spoke about the Broadway shows that resonated most with him as a youth, either from listening to the cast recordings that his older sister had or attending the shows with his parents. "Trouble" from The Music Man received a breakneck delivery from Alexander that was full of hand gestures, fast-paced dance steps, and facial expressions that highlighted the lyrics of the song. A medley of songs from Pippin featured a lovely version of "Corner of the Sky" that also touched upon his fascination with magic as a small boy. Throughout his performances of these songs, he reminisced about his past, mentioning several times that he was a "short and husky boy from New Jersey," joked with the audience, and spoke how these shows influenced him to become a performer....The inclusion of "popular" concerts like this one in the Phoenix Symphony Orchestra's calendar allows concertgoers to experience a well-known performer like Jason Alexander doing something they may not be aware he is capable of doing. Alexander's well-structured show gave insight into his past, and his affection for musicals was as palpable as his passion and devotion to performing. His continued praise of the PSO throughout the concert was echoed by the practically sold out audience."  -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

concert review - THE MUSIC OF JOHN WILLIAMS - Phoenix Symphony Orchestra- January 3, 2016

Some of the most iconic and instantly recognizable movie themes from the past forty years have all been written by one man, John Williams. The soundtracks for Jaws, Star Wars, Superman, Raiders of the Lost Ark and ET have music that instantly brings the images of those films to life. Williams’ ability to compose musical themes that resonate with audiences while inherently serving the characters, settings and stories of each film sets him apart from his peers. This past weekend the Phoenix Symphony Orchestra presented two concerts of his film music and it was an exciting, thrilling and even magical experience. Many of my fellow concert goers were as equally impressed, with two standing ovations at the end of the concert.

The guest conductor for the two concerts was Stuart Chafetz. Having experience in conducting dozens of orchestras around the country, he proved to have complete command over the PSO. He also had an exciting connection not only with the material but also with his love for John Williams' music, something that was obvious when he spoke to the audience several times. His conducting of the orchestra was controlled but also playful at various times throughout the two hour show. He also made clear how impressed he is by the PSO with the times he commented on their skilled playing and also the numerous times when he made them stand and take a bow.

Williams has received 49 Oscar nominations, having won 5 times, and has composed the scores for over 100 films and tv shows. Williams has also written special compositions including the theme for the 1984 Olympics and the theme music for NBC News. So picking out material for a two hour concert would ultimately mean that some audience favorites might not be included as Williams' body of work is so extensive. But, with only one exception, Chafetz and the PSO managed to find an excellent balance with familiar Williams' movie themes as well as a couple of selections that an audience might not be that familiar with, but should be.

The concert included the following crowd favorites - the "Main Title" from Star Wars, the “March” from Superman, the "Theme" from Jaws, “Adventures on Earth” from ET, selections from Close Encounters of the Third Kind and the theme from Jurassic Park. Every one of these pieces sounded to me like it could have come from the original recording that Williams made for the films, most of which he did with the London Symphony Orchestra. The highlight for me, and many others in the audience was a trio of three Star Wars selections that ended the concert. This trio included a stunningly played “Leia’s Theme,” the "Imperial March" from The Empire Strikes Back and a rousing Star Wars Main Title.

Selections from his other film soundtracks were featured, including “Harry’s Wondrous World” from the first Harry Potter film and the “Flight to Neverland” from Hook. But other lesser known selections were included as well - the rousing "Overture" to The Cowboys, the “March” from 1941, a Suite from Far and Away and an impressively played “Viktor’s Tale” from The Terminal, that featured an impeccable clarinet solo from Alex Laing. However, Williams' Oscar winning score for Schindler's List was the only piece I thought should have been included, since it not only won him an Oscar but also is one of his most personal and moving scores.  But even with this one misstep, it didn't detract from the overall enjoyment that I and about 1,000 other concert goers experienced.  The "Raiders March" from Raiders of the Lost Ark was served up as an encore to the very hungry audience.

The playing by the Phoenix Symphony Orchestra throughout was superb. Williams' arrangements seem to draw equally upon the various parts of the orchestra; using the brass section for regal, triumphant notes; the strings for soaring elements; and specific instruments like the oboe, flute and French horn to portray a sense of longing. These last few instruments, plus a few others, were used most effectively to deliver a stunning "Leia's Theme" from Star Wars. But it is when all of the instruments come together, weaving in and out of each other where they truly resonate. This was evident in the playfulness of the March from 1941 and the terror that is instilled from just a few notes in the theme from Jaws.

The one clear message that came through in hearing selections from so many of his film scores was that Williams can pretty much write a theme or score for any genre or time period.  Whether it is the rousing old West aura that he easily establishes in the opening notes of The Cowboys, the Mideastern influenced sounds the clarinet and other instruments are able to convey in The Terminal, the sense of wonder and magic Williams is able to instill in E.T., Jurassic Park and Harry Potter, or the regal, triumphant sound of Superman, he can pretty much invoke any type of music necessary to have you connect with the films he scores or the event at hand.  Also, the themes Williams' writes are almost instantly recognizable within hearing just the first few notes.

I've actually seen Williams conduct his own music twice, both times were in the late 1980's and with the Boston Pops when he was their principal conductor, a position he held for 13 years. I saw him once in Boston and the other time at Carnegie Hall. At both concerts he conducted several of his own music pieces which was a pretty special thing to see and hear.

And for those who are interested, Williams' Five Oscar wins were for Jaws, Star Wars, E.T. and Schindler's List and his first win was for adapting the stage music for the film of Fiddler on the Roof.

”The Music of John Williams” with the Phoenix Symphony played two performances on January 2nd and 3rd, 2016 at Symphony Hall in Phoenix. Information for upcoming performances with the Phoenix Symphony can be found at http://www.phoenixsymphony.org.

concert review - ALFIE BOE with the Phoenix Symphony Orchestra - June 5, 2015

"Who knew that inside the English tenor opera singer turned musical theatre recording artist, and PBS pledge drive star Alfie Boe was a comedian and budding rocker? ... Boe was in town recently for a concert performance with the Phoenix Symphony Orchestra and while, at first, he may not have been a household name to everyone in the audience, the combination of his infectious rapport with humorous patter, a wide range of song styles that included classic rock tunes, and his astounding vocal abilities made his name one that no one who saw him will soon forget.

The concert was split into two equally perfect halves, with the first act focusing on musical theatre and the second showing off Boe's and the orchestra's abilities to perform opera and rock songs. Boe was actually a replacement for an ailing Colm Wilkinson who had originally rescheduled his concerts only to then have to cancel them. (Having Boe sub for Wilkinson made sense, since Wilkinson originated the part of Valjean in Les Misérables.)

The concert started off with a superb medley of songs from that musical, showing off the sublime skills of the orchestra as they played the sweeping motifs from the well-known score, then Boe delivered two back to back powerhouse songs from the show. "Who Am I?" is a song that Boe has sung many times and he perfectly got across the meaning of the lyrics and hit the passionate notes required. "Bring Him Home" is probably the one song that people have heard Boe sing more than any other, and hearing him sing the song live was an emotional experience that brought the audience to its feet....On "Wheels of a Dream" from Ragtime, his voice fit perfectly with the lyrics. It was nice that the arrangement for this song was very close to the original Broadway one, yet the fullness of the Phoenix Symphony Orchestra provided a richness that you'd never hear in a production of this show with a much smaller group of musicians...The Symphony delivered a romantic "Carousel Waltz" from the Rodgers and Hammerstein musical that was full of nuance and was followed by Boe singing a stirring version of that show's "You'll Never Walk Alone." ...Act two contained both classical and rock songs, including several traditional Italian and Spanish folk songs that featured some impeccable violin solos by Magdalena Martinic-Jercic. The orchestra also delivered superb suites from two operas, Carmen and Cavalleria Rusticana. Three rock songs ended the act with Boe belting out powerhouse versions of two Pete Townshend songs from the classic Who rock opera Quadrophenia, "I'm One" and "Love Reign O'er," which he also performs on a recording ("Classic Quadrophenia") that was just released this week. Snow Patrol's "Run" was the final number with Boe's voice blending beautifully with the superb arrangement of this pop hit. Boe came back and delivered a stunning a capella version of "Danny Boy" as his encore, which ended the evening on a perfect note.

Conductor David Hattner, who was making his first appearance with the Symphony, did a exceptional job of conducting the wide range of musical styles and had a touching connection with both Boe and the orchestra. The sound at Symphony Hall is so superb that you can clearly hear not only the solo moments but also the contribution that each instrument makes to the whole...." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

concert review - OLIVER! in concert - Phoenix Symphony Orchestra and Phoenix Theatre - May 29, 2015

"Phoenix Theatre and Phoenix Symphony Orchestra recently came together for another musical theatre collaboration. This time the selection was Oliver! and hearing Lionel Bart's score, with so many well-known songs, played by the huge, skilled orchestra and sung by a gifted cast, was simply glorious....The combination of Phoenix Theatre's Artistic Director Michael Barnard's skilled direction and (Tito) Muñoz's crisp conducting resulted in a touching production of this classic musical and was a perfect way to close out Muñoz's inaugural season with the Symphony....The concert included the majority of the Tony winning score, with the exclusion of just one minor song, and the wonderful performances of D. Scott Withers and Yolanda London. Withers was Fagin and London portrayed Nancy... hearing London's glorious and powerful voice wrapped around the music and lyrics of "As Long As He Needs Me," "I'd Do Anything," and "It's a Fine Life," along with her firm connection to the lyrics, was a joy. The combination of London's strong portrayal and the rich, nuanced and well thought out performance of Withers more than made up for some of the shortcomings of the evening. As Oliver, Vincent Jacovo was appropriately sweet and naive and able to hit some lovely notes in his solo "Where is Love?" Asher Angel as Dodger was also charming, displaying plenty of realistic street smarts along with a nice singing voice....(Chris) Eriksen was effective at getting the menace of Bill Sykes across. (David) Simmons' rich, deep voice was simply lovely, especially during "Boy For Sale" and he also got a chance to show his comic abilities as the bumbling Dr. Grimwig. (Toby) Yatso and (Kate E.) Cook provided some nice humorous bits, with Yatso's long legs put to good use in a highly choreographed "That's Your Funeral." But Yatso also added a lovely emotional touch of caring and tenderness as Brownlowe. Cook, Johanna Carlisle and several ensemble members provided extremely lovely solos during the "Who Will Buy?" sequence. The hardworking ensemble played multiple parts with ease and the dozen children in the cast delivered some gorgeous harmonies as well as meaningful and well directed performances.While most concert performances of big musicals with large casts like Oliver! aren't fortunate enough to have fully fleshed out production values and huge ensembles, this wasn't exactly the case with this concert presentation. The use of dozens of period costumes was effective in portraying the numerous characters in the musical as were a few small set elements to evoke Fagin's lair, the orphanage, and the homes of Brownlowe and the Sowerberrys...Barnard's choreography for the many ensemble numbers was quite elaborate and added a rousing and varied amount of dance steps delivered expertly by the cast. ...Even with the shortcomings of the abbreviated plot and some of the staging, Barnard's direction of the talented cast and Muñoz's expert conducting of the orchestra led to a winning and touching production of this musical. The score of Oliver! has so many well-known and well-loved songs that hearing them delivered by an exceptional cast, headed by Withers and London, and played by such a grand, masterful orchestra, more than made up for any of the very few drawbacks of the night...." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

concert review SEASONS OF BROADWAY, Nov. 7

To read my review at Talkin' Broadway, click here

Four powerhouse Broadway vocalists, led by original Rent star Adam Pascal, came together recently for Seasons of Broadway, a concert of mostly Broadway hits which celebrated the "diversity of Broadway." The foursome toured three West Coast arts centers last weekend, including the Scottsdale Center for the Performing Arts.

Pascal was joined by two-time Tony nominee Robin De Jesus, Mandy Gonzalez, and Marcus Paul James to perform many songs they originated on Broadway and others they personally identify with. While Pascal is the biggest "name" amongst the four, it was nice to see that it was a balanced ensemble concert, with Pascal getting equal time alongside his lesser known co-stars. All four performers have had professional relationships with each other. Pascal, De Jesus and James have all been in productions of Rent together, while Pascal and Gonzalez were in Aida, and Gonzalez and De Jesus were in the original cast of In the Heights. The bonds formed by those experiences came across in the concert.

There were many highlights in the evening. Gonzalez has been in her share of hits and flops on Broadway and she sang songs from every Broadway show she's been in. She has one of the clearest voices I've heard, able to provide both perfect diction and pitch and a soaring belt, and she put her excellent voice to exceptional use. First, recreating her role as Nina in the smash hit In the Heights, she delivered an emotional version of "Breathe" and, with De Jesus's vocal accompaniment, sang "Total Eclipse of the Heart" from her first starring show on Broadway, the mega-flop Dance of the Vampires. Gonzalez was one of the replacement Elphabas in the Broadway cast of Wicked and she sang a rousing and raw "Defying Gravity" as well as a beautiful, heartfelt version of "Imagine" from the flop showLennon.

A trio of Rent songs early in the evening proved very meaningful, with Pascal singing an introspective "One Song Glory" that had a different arrangement from the original Broadway version but was just as effective; De Jesus and James were a charming couple on the show's "I'll Cover You"; and James and Pascal sang a fun and upbeat "What You Own."

A few funny behind the scenes stories accompanied the songs, including one Pascal told about how he is often confused with his original costar Anthony Rapp and how being chosen to narrate a documentary on hippopotamuses had a connection to his being confused for Rapp.

James, who is currently in Motown the Musical on Broadway, displayed his sleek dance moves and winning vocals on that show's "My Girl" followed by his upbeat, and quite good, original song "Meant to Be" that was reminiscent of the songs of Stevie Wonder. James also spoke of his inspirations and, after saying he has always been influenced by John Legend, he sang Legend's hit "All of Me." James' voice gave the song's lyrics an earthy, gritty feeling that resonated.

Gonzalez also spoke about her inspirations and mentioned that when she was seven she sang Tina Turner's "Proud Mary" at a talent show. She then delivered a rip-roaring version of Turner's "River Deep, Mountain High" complete with high pitched "rocker" wales. Gonzalez then joined Pascal onAida's "Elaborate Lives" which showed Pascal is still able to hit that song's soaring high notes. He also performed a moving and touching "Memphis Lives in Me" from Memphis.

While De Jesus only had two solos, they were both expertly delivered. A direct and pure "Proud of Your Boy" from Aladdin was a winner and "I Am What I Am" from La Cage aux Folles received a measured, driving delivery that exploded toward the end and got one of the biggest ovations of the evening. The concert ended on another high note with the four singing Rent's "Seasons of Love" in perfect harmony.

Jesse Vargas' musical direction was excellent, achieving rich harmonies from the foursome as well as a full, striking sound from the small band. While the show ran just shy of 90 minutes, it featured plenty of chances for the four performers to show their skills and covered many genres of songs. I only wish De Jesus had gotten another solo to sing and that both Pascal and De Jesus had a chance to, like Gonzalez and James, pay homage to someone who inspired them. But the excellent arrangements, the full, soaring vocals from the four singers, and Vargas' superb musical direction were huge assets. Another asset is that the Scottsdale Center for the Performing Arts features perfect sound and clear site lines, so it doesn't seem like there is a bad seat in the house.

I'm not sure if there are any plans to present this concert in other cities across the country, but if they do tour again, Seasons of Broadway should be a must-see for anyone who loves Broadway.

Seasons of Broadway played the Scottsdale Center for the Performing Arts on Friday November 7th 2014. Information for upcoming concerts at the SCPA can be found atwww.scottsdaleperformingarts.org

concert review CHEYENNE JACKSON WITH THE PHOENIX SYMPHONY ORCHESTRA, PSO, Oct. 24

To read my review at Talkin' Broadway, click here.

The music that is made when you pair a perfect vocalist and a perfect orchestra can be stunning. That's exactly what audience members experienced this past weekend when Cheyenne Jackson performed two concerts with the Phoenix Symphony Orchestra. Jackson, while not exactly a household name, has starred in three Broadway musicals, had featured recurring roles on such hit TV shows as "Glee," and "30 Rock" and has also appeared in several, mostly independent, films. But his voice and stage presence are sublime, with pure, clear vocals and plenty of charisma that echoes such famous "entertainers" as Sammy Davis, Jr., Dean Martin and even Frank Sinatra. Those men also knew their way around large orchestral jazz arrangements, and that feeling and tone were also present with the masterful playing of the Phoenix Symphony Orchestra.

Besides a spectacular voice, Jackson also has an abundance of charm which, when combined with his personal stories, added an added individual touch to each song. Jackson mentioned how he grew up poor in a small town in Idaho where they had no running water for five years but had two goats named "Harmony" and "Melody." Jackson said that seeing his first touring Broadway show of Les Misérableswas a life changer and made him realize what he wanted to do with his life, though it would take him many more years before finally deciding to move to New York and try to make a living as an actor and singer.

Along with his growing up tales, he also focused, with just the appropriate amount of balance to not go overboard, on his realization a couple of years ago that he was an alcoholic, and how his sobriety helped him not only become a better man, but achieve a clarity in his life.

That clarity came across in his vocals, which were highlighted with exceptional deliveries of three songs from Broadway shows, including an impeccable "Something's Coming" from West Side Storywith pure, rich vocals and his eyes searching the auditorium perfectly in tune with the lyrics, and a jazzed up take on "Old Devil Moon" from Finian's Rainbow. Saying it was a role he hoped to play one day, he delivered a lush Frank Sinatra inspired take on Guys and Dolls' "Luck Be a Lady." He also performed some upbeat Latin influenced arrangements of "Americano" and "Besame Mucho," which showed the deep tones his voice is able to achieve, along with the recent Michael Bublé inspired take on "Feeling Good" and a rousing "I (Who Have Nothing)" that showed Jackson's perfect control of his voice. His playful rendition of the Mac Davis penned Elvis Presley hit "A Little Less Conversation" included a touch of Elvis' trademark snarl and some skilled pelvic thrusts.

But it wasn't just standards or American Songbook selections that he wrapped his pipes around; he also showed his skill on some recent tunes, including an excellent take on Amy Winehouse's "You Know I'm No Good" with a fun, winking, playful deliver of lyrics such as "I told you I was trouble, you know that I'm no good." Talking about his sobriety and how he lost himself before he realized he was an alcoholic, and how he had to fall back into the man he knew he could be, he delivered a heartfelt, emotional version of Once's "Falling Slowly" that turned the lyrics "Take this sinking boat and point it home, we've still got time, raise your hopeful voice you have a choice, you'll make it now" into a personal journey of discovery. A piano accompaniment only arrangement, played by musical director Ben Toth, of Joni Mitchell's classic "A Case of You" received a beautiful meditative rendition.

The personal moments also included two tunes Jackson penned himself, which were actually quite good: the introspective "Mr. Lonely Boy," which showed the emotional impact of his personal experiences, and a touching tune he wrote about his grandmother, "Red Wine is Good for My Heart." Act one ended with a smashing, inspiring take on the Sam Cooke classic "A Change Is Gonna Come" and an encore pairing of "What a Wonderful World"/"Auld Lang Syne" that was the perfect ending to a perfect evening. The Phoenix Symphony, under Randall Craig Fleischer's accomplished conducting, proved once again that they are able to play any type of music with absolute skill, not only in their expert accompaniment to the varied styles of songs Jackson sang but also with the act two opener of Charlie Parker's "Shaw Nuff" which featured an impeccable sax solo in the brass and woodwind focused arrangement.

Cheyenne Jackson and the Phoenix Symphony Orchestra was another perfect example in the Symphony's series of "Pops" concerts.

Cheyenne Jackson with the Phoenix Symphony played two performances on October 24th and 25th, 2014, at Symphony Hall in Phoenix. Information for upcoming performances with the Phoenix Symphony can be found at http://www.phoenixsymphony.org.

Photo: Courtesy Cheyenne Jackson/Phoenix Symphony Orchestra

concert review DISNEY IN CONCERT, Phoenix Symphony Orchestra, June 6

Click here to read my complete review of Disney in Concert, recently performed by the Phoenix Symphony Orchestra.

Walt Disney and Disney animation have always held a certain affection for moviegoers, even before the triumph of their recent mega hitFrozen, and many of their animated films have been successfully turned into Broadway musicals. While Disney has had much luck over the years since the release of their first full-length animated feature Snow White and the Seven Dwarfs in 1937, it was really The Little Mermaid in 1989 that served as the beginning of the resurgence of animation at Disney. Over the past 25 years, the combination of well-honed stories with superb film scoring and top notch songs, often from Broadway composers, has cemented each Disney film as a treat for both film and theatre fans. In fact, their 1991 filmBeauty and the Beast was not only nominated for the Oscar for Best Movie but also got the attention of New York Times theatre critic Frank Rich who deemed it "The best Broadway musical score of 1991" even though it was not yet a Broadway show.

For Disney animation lovers and musical theatre fans, the recent concert for symphony orchestras entitled "Disney in Concert – Magical Music from the Movies" was the perfect combination of rousing film score music and Broadway style movie song. This concert has been performed with various symphony orchestras across the country over the past few years, and audiences in Phoenix got a treat when conductor Stuart Chafetz led the Phoenix Symphony Orchestra in this affectionate nod to some of the best music and songs from Disney films. A cast of four talented singers, all of whom have national tour and/or New York theatre credits under their belts, and who have all performed this concert with other symphony orchestras before, provided plenty of energy and emotion while performing the songs. With the added visual impact of scenes and original artwork from the films projected on a large screen above, the right balance between stirring film scores and impeccably written songs showed the magic that the two often create when combined with lively, colorful and often beautiful animation. Written and directed by Sherilyn Draper, with the contribution of musical director Ted Ricketts who created the program for Symphony Pops Music, the concert provided fun, upbeat feelings. It's easy to see why this show has been performed across the country so many times.

Juliana Hansen, Andrew Johnson, Whitney Claire Kaufman and Aaron Phillips were the vocalists for this concert and each was given several opportunities to shine. Hansen and Kaufman took on the songs associated with the "Disney Princess" roles, including The Little Mermaid's Ariel and Beauty and the Beast's Belle, and Johnson and Phillips performed character role songs, such as Beauty and the Beast's Lumiere and Aladdin's Genie.

The concert got off to a rousing start with the Symphony performing the "Disney Classics Overture," a suite arranged by Bruce Healey of over a dozen themes and songs from films such as Snow White, Peter Pan,Alice in Wonderland and Cinderella, including "Zip-a-dee-doo-dah," "A Dream Is a Wish Your Heart Makes," "Chim Chim Cher-ee," and even the "Theme to the Mickey Mouse Club." A lovely suite of songs from Alan Menken and Howard Ashman's The Little Mermaid followed and featured Hansen singing "Part of Your World," her voice giving the song a nice and appropriate "girly" sound that matched well with Ashman's youthful, soul searching lyrics. Kaufman provided a proud and sensitive version of Menken and Stephen Schwartz's "Colors of the Wind" from Pocahontas with the Symphony's moving and precise playing matching the soaring vocals.

A suite from Menken and Ashman's Beauty and the Beast featured all four vocalists in a nicely delivered rendition of "Belle" which was followed by the love duet of the title song sung effectively by Kaufman with Johnson. Phillips, who is also an accomplished voice-over artist, brought a heightened level of energy to the concert, providing some fun dance moves and high level antics to each of his numbers, including "Be Our Guest" as well as a rousing "I Wan'na Be Like You," from Richard and Robert Sherman's The Jungle Bookscore, which featured some lively backup vocals from the other singers. A medley of songs from the Sherman brothers' Mary Poppins score ended the first half of the concert, featuring numerous well-known tunes with sing-along lyrics projected over some exquisite original artwork and storyboards for the film.

The second act opened with a thrilling suite from The Hunchback of Notre Dame that focused on Menken's musical motifs. The Symphony, as usual, provided amazing accompaniment with every section of the orchestra given plenty of moments to show their adept skills and musicianship. While the focus on the Symphony's capabilities was most apparent during the solo turns the Symphony got, including a driving suite of Klaus Badelt's music from The Pirates of the Caribbean, it was also a highlight during some moments in the film suites that allowed the playing of the Symphony to stand alone without vocal accompaniment.

Menken, Ashman and Tim Rice's score for Aladdin gave Phillips another chance to show his crackerjack vocal skills and high energy dancing with an energetic take on "Friend Like Me." Though that suite's version of "A Whole New World" wasn't quite as successful, with Johnson's vocals surpassing Hansen's during the love duet from this film.

The highlight of the evening was a stirring Suite of songs and film music from Elton John, Rice and Hans Zimmer's score to The Lion King that featured Phillips showing his serious side, in an emotionally heartfelt take on "Can You Feel the Love Tonight". And, while Johnson's take on "Under the Sea" during the suite fromthe Little Mermaid wasn't as lively as it could have been, he brought considerable power to "Circle of Life," supported by the trio of singers. The final song in the concert, the usually annoying and redundant "It's a Small World," when delivered as a sing-along, with the words projected on the screen above, actually made the song a fun, joyous affair.

As festive, upbeat and fun as the concert was, there were a few downsides. While the vocalists were used effectively throughout the evening, and all added nice contributions, some of their performances were a bit "over the top" and too energetic, as if they were trying too hard to connect with the audience. While I understand that, in order to rouse the younger children in the audience this may have been the direction the cast was given, I think they are underestimating the abilities and attention span of children who are already familiar with, and in love with, the music featured in the concert. Also, some of the scripted narration that introduced the films and their music was a bit cloying. Fortunately, the amount of narration was small and the over eager performances settled down after the first half of the concert. A major positive was that the audience included an abundance of young children and teenagers, and I didn't notice any of them becoming restless or tired.. Hopefully, attending a concert like this might encourage some of them to attend other performances in the Phoenix Symphony's rich and diverse "Family" concert series or even learn to play a musical instrument.

The Disney animated films have a breadth of captivating music. Hearing music and songs from so many beloved film scores played by the skilled Phoenix Symphony Orchestra and paired with enthusiastic vocal performances, shows the power and sensitivity behind these famous film songs, resulting in an extremely rewarding experience. "Disney in Concert – Magical Music from the Movies" is a nicely constructed show and another success for the Phoenix Symphony Orchestra.

Disney in Concert with the Phoenix Symphony played two performances on June 6th and June 7th, 2014, at Symphony Hall in Phoenix. Information on upcoming performances with the Phoenix Symphony can be found at www.phoenixsymphony.org.

concert review BOND AND BEYOND, Phoenix Symphony with Debbie Gravitte, April 12

To read my complete review (highlights below) of the recent Phoenix Symphony Orchestra concert of Bond and Beyond, featuring Debbie Gravitte, just click on this link.

"Tony Award winner Debbie Gravitte is known for her big and brassy voice. So it's no surprise that as the featured vocalist with the Phoenix Symphony Orchestra for two recent concerts centered around music from the James Bond series of films, Gravitte was more than capable of providing powerful vocals on several Bond hit songs, including some originally sung by Shirley Bassey and Adele. The title of the concert was Bond and Beyond as it featured not only Bond music but songs from other spy caper films as well. Under the assured direction of conductor Michael Krajewski, the Phoenix Symphony Orchestra once again showed their fine musical skills and abilities to play music beyond the traditional classical realm. The concert featured Gravitte providing skilled vocals, along with a few funny statements that worked well with conductor Krajewski's humorous patter in between the musical selections.

 The concert got off to a great start with—what else?—"The James Bond Theme." The combination of Monty Norman's music and James Barry's arrangement make that theme song immediately identifiable and the Phoenix Symphony excelled in their delivery of it, which included a skilled trombone driven beat throughout. Barry's themes from both From Russia with Love, which featured lush violin accompaniment, and You Only Live Twice showed the wide range of music that has appeared in the Bond films. The themes often echo the music of the settings of the films, as demonstrated by the Asian influences in the score of the Japan-set You Only Live Twice.

Barry would go on to write the scores for twelve of the, so far, twenty-three Bond films as well as many of the famous well known theme songs. Gravitte provided rousing interpretations of Barry and Don Black's "Diamonds Are Forever," with her sparkling jewelry a nice prop addition to match Black's lyrics, as well as David Arnold and Don Black's mesmerizing "The World is Not Enough." That song often gets forgotten when people think of the long list of famous theme songs from the Bond films, which is a shame as Arnold composed a moving piece of music. The music, which has a soothing rise and fall to it, resembles the movement of water or waves to a degree, and Gravitte's vocals matched the music perfectly, quiet and small in parts than rising to a roar in others.

The concert ended with two highlights. First, Gravitte delivered an expertly sung version of the Adele song "Skyfall" from the most recent Bond film of the same name. Gravitte added a nice amount of emotional heft to the moody Adele and Paul Epworth penned song. The Symphony ended with a "Best of Bond" suite, a nicely arranged and orchestrated piece that gave every section of the orchestra moments to shine and included other famous Bond theme songs like "Nobody Does it Better," "Live and Let Die," "For Your Eyes Only" as well as the Burt Bacharach/ Hal David song "The Look of Love" which was heard in the 1967 Bond spoof Casino Royale. The Symphony came back for an encore, the fun and upbeat theme for "Mission Impossible."

The only downside in the concert was Ames M. Stephenson's "Concerto for Cell Phone" which didn't quite work with the rest of the evening's selections and the aforementioned sound issue with Gravitte's microphone level.  Krajewski and Gravitte have performed similar Bond themed concerts with other symphony orchestras so it was no surprise at how well the two of them work together and how adept they are at performing the material. With Krajewski's skilled conducting and Gravitte's rich vocals, Bond and Beyond was another successful concert in the Phoenix Symphony Orchestra "Pops" series and showed once again the wide range of music the Symphony is capable of playing. "

"Bond and Beyond" with the Phoenix Symphony Orchestra and featuring Debbie Gravitte played April 11th and 12th at Symphony Hall in Phoenix. Information for upcoming performances with the Phoenix Symphony can be found at www.phoenixsymphony.org.
 

concert review PATTI LUPONE, Scottsdale Center for the Performing Arts, March 21

To read my complete review at Talkin' Broadway of Patti LuPone's "Far Away Places" concert, just click here.

"For all the intensity Patti LuPone is known to bring to her stage performances, she exudes an equal amount of joy as well. This was evident in the expanded two-act concert version of her cabaret show Far Away Places at the Scottsdale Center for the Performing Arts this past Friday.

Patti LuPone says she's always considered herself to be a "gypsy" and one who has "wanderlust," so an evening about songs that are set in numerous countries is a perfect fit for her to tell us about her journeys and experiences. She originally premiered the show in the summer of 2012 during the inaugural weeks of the new cabaret spot 54 Below in New York. In this two-act concert version, several songs have been added, expanding it to just under two hours. With a heavy focus on Kurt Weill, the material for the original cabaret piece was eclectic yet still provided a good mix of serious songs, humorous character pieces, and a few show tunes as well. The additional material provides even more chances for her to showcase her voice as well as more evenly balance the heavier Weill songs with more modern ones from Billy Joel, Tom Waits and Leonard Cohen.

The accompanying quintet was led by musical director Joseph Thalken, who also orchestrated much of the material, played piano and supplied backing vocals. The rest of the band included Larry Saltzman on banjo and guitar, Andy Stein on violin and saxophone, Paul Pizzuti on percussion and drums, and Tony Geralis on keyboards and accordion. All five men also performed with LuPone at 54 Below and can be heard on the live recording of that concert that has been commercially released.

Far Away Places was conceived and directed by Scott Wittman, and Patti LuPone is touring this two-act version of the show across the U.S. this spring as well as presenting several other solo concerts of two of her other shows and performing several concerts with her Evita co-star Mandy Patinkin.  Information on all future concert dates can be found at www.pattilupone.net. Patti LuPone's Far Away Places played the Scottsdale Center for the Performing Arts on Friday March 21st. Information for upcoming concerts at the SCPA can be found at www.scottsdaleperformingarts.org. "

Patti LuPone's Far Away Places played the Scottsdale Center for the Performing Arts on Friday March 21st. Information for upcoming concerts at the SCPA can be found at www.scottsdaleperformingarts.org.

 

concert review A TRIBUTE TO MARVIN HAMLISCH, Phoenix Symphony Orchestra, March 9

Donna McKechnie

To read my complete Talkin' Broadway review of the Phoenix Symphony Orchestra's recent Tribute to Marvin Hamlisch, just click on this link.

"Composer Marvin Hamlisch had a long and illustrious career. Over a period of just a few years he won a Golden Globe and then three Academy Awards at the age of 29 in 1974 for his work on the films The Way We Were and The Sting, followed by Grammy Awards for those films and then both a Pulitzer Prize and a Tony Award for A Chorus Line. While the remainder of his life wasn't filled with as many awards it did include continued film score work, several new musical scores for Broadway, and an ongoing association with numerous symphony orchestras throughout the United States. Hamlisch left a legacy of many wonderful musical themes and songs, and, due to his sudden death in 2012 at the age of 68, it is only natural that his life is being celebrated by orchestras across the country. A recent tribute concert with the Phoenix Symphony Orchestra that was presented for three performances was not only a living testament to the musical gifts Hamlisch left behind but also to the way he touched the lives of the featured performers at the concert, all of whom had worked with Hamlisch.

But the highlight of the evening was the inclusion of numerous songs from A Chorus Line, all of which had the added benefit of the artists "acting" the songs and not just singing them. These included McKechnie's fantastic performance of two songs that her character didn't sing, "Nothing" and "At the Ballet." Her solo on "Nothing" was heartfelt and touching, like the character in the show who sings it, and "At the Ballet" featured the lovely addition of Benson and a student performer from ASU's Lyric Opera Theatre. It was stirring. McKechnie also got the chance to sing the original act two solo song for her character Cassie, "Inside the Music," which was replaced with the showstopping "The Music and the Mirror." McKechnie's performance of both songs showed perfectly how a song can evolve and become better, and she even performed a bit of the Michael Bennett choreography. Two A Chorus Line numbers ended the concert, "What I Did For Love" and an encore of "One." In a lovely homage to Hamlisch, the first verse of "One" was changed from "every little step she takes" to "every little step he takes" while a large photo of Hamlisch was projected over the stage.  A Tribute to Marvin Hamlisch with these guest artists will also be presented with the Philadelphia Pops March 14th to March 16th and the Atlanta Symphony March 28th and 29th. Information for those shows, as well as upcoming performances of Hamlisch's music can be found at marvinhamlisch.us.  A Tribute to Marvin Hamlisch with the Phoenix Symphony played March 7th to March 9th at Symphony Hall in Phoenix. Information for upcoming performances with the Phoenix Symphony can be found at www.phoenixsymphony.org.

concert review PATTI LUPONE and the NJSO, June 2

For all of the intensity Patti LuPone is known for bringing to her performances it is almost equally matched with the joy she exudes when performing with an orchestra.  Watching Patti sing with the New Jersey Symphony Orchestra in a concert version of her cabaret show "Far Away Places" brought a smile to your face watching the fun and excitement Patti had performing with this large orchestra.

Patti says she's always considered herself to be a "gypsy" and one who has "wanderlust" so an evening about songs that are set all over the world seemed like a perfect fit for LuPone to tell us about herself, her journeys and her experiences in far away places.  With a heavy focus on Kurt Weill, the selection of material was eclectic yet still provided a good mix of serious songs, humorous character pieces and a few show tunes as well.

This show was one that Patti originally premiered last summer during the inaugural opening weeks of the hit new cabaret spot 54 Below in New York.  But there she was only accompanied by a small group of musicians so you can easily understand why Patti is having such a grand time when singing these songs with such a large orchestra.  Fortunately, she is having just as fun performing these songs and singing with the NJSO as we are listening to her sing them.

"Gypsy in my Soul" is the perfect song to start off the evening as the lyrics expertly set up the idea of someone with wanderlust.  Patti's voice soared throughout with a final note that practically tore the roof off the State Theatre.  "Far Away Places" by Alex Kramer and Joan Whitney is a joyous yet quiet song that has similar lyrics to "Gypsy in my Soul" but it also moves Patti's journey along with simple lyrics of these far away places calling to come see them for yourself.  Patti's understated but direct delivery of the song is a testament to her ability to get the meaning of even a simple, sweet and understated song across.  A swinging version of Willie Nelson's "Night Life" provided Patti a springboard to speak about the fact that "the night life ain't no good life, but it's my life."

There is plenty of serious material in the show including several Weill songs.  A loose yet direct version of "Bilbao Song" that Patti sings after speaking about the way New York used to be when Times Square was a little more dirty than it is today, perfectly echoes the memories that one thinks they remember from the past.  Weill's "September Song" receives a superlative treatment as does his "Pirate Jenny".   "Jenny" is delivered in the middle of a series of water themed songs that begins with a segment of Weill's "Ah the Sea is Blue" as well as Johnny Green and Edward Heyman's beautiful and romantic "I Cover the Waterfront" and Sondheim's "By the Sea" from Sweeney Todd.   Patti brings a rich, emotional intensity to this suite of songs, finding the perfect tone to make them all fit together nicely with Patti's delivery of "Pirate Jenny" the jewel in this sea set suite.

A nice pairing of two "market" songs includes the more intense "Black Market" by Frederick Hollander followed by the humorous "Come to the Supermarket in Old Peking" by Cole Porter.  Johnny Mercer's "I Wanna Be Around," which Patti dubbed "the Sicilian National anthem" after mentioning that she has Sicilian blood provided a nice touch of comedy.  Bill Burnett and Marguerite Sarlin's "I Regret Everything," which Patti has sung in some of her other shows before, was a perfect comic moment after the more serious suite of sea themed songs. 

One of Patti's encores was her second act solo "Invisible" from her recent Tony nominated performance in David Yazbek's Broadway musical Women on the Verge of a Nervous Breakdown.  Taken out of context of this not so well received show it actually worked better as it let you focus more on the story of the character singing the song and less about the crazy goings on in the musical around it.

Joseph Thalken orchestrated the material from Patti's cabaret show for a full orchestra and the results were breathtaking.  We've seen many concerts by the NJSO, but this eclectic selection of material showed their ability to play a wide range of songs that was almost as far from your standard selection of classic orchestra music as possible.

Patti's set was actually the second half of the concert with the NJSO performing solo for the first act of the evening that included several Rodgers and Hammerstein overtures from their shows that are set in far off lands as well as a superb suite from Rodger's Victory at Sea tv score.  A loving arrangement of Sondheim's "Send in the Clowns" showcased the superb skills of the NJSO string section.  Rob Fisher expertly led the orchestra for both acts.  "Far Away Places" was conceived and directed by Scott Wittman and this version, with a full orchestra is also set to be presented at Carnegie Hall in November.

Playbill highlights video from Patti's 54 Below concert of this show:

concert review NJSO - "'S Wonderful!, 'S Marvelous!, Gershwin" State Theatre, April 19

George Gershwin composed some of the most memorable songs of the 20th century.  The fact that he died so early at the age of 38, in 1937, only adds to the huge contribution that he made to the American Songbook in such a short period of time.  Classic songs like "I've Got Rhythm," "Someone to Watch Over Me," the score to Porgy and Bess and the orchestral piece "An American in Paris" are just a few of his best known pieces.  Last Friday we had the pleasure and joy of hearing an evening of Gershwin music performed by the New Jersey Symphony Orchestra.

Under the skilled baton of conductor Gerald Steichen, the NJSO expertly played an evening filled with some of Gershwin's best known songs as well as a few of his lesser known ones. Adding to the terrific playing were soprano Katrina Thurman and baritone Jim Weitzer (who is currently playing one of the opera owners on Broadway in The Phantom of the Opera.). Both Thurman and Weitzer were up to the task at hand, though Thurman came off best, especially in the second act when her voice soared when she sang "Summertime" during a Porgy and Bess medley.

The evening got off to a rousing start with a spirited overture that included several of Gershwin's best songs expertly woven together into an orchestral piece.  Weitzer and Thurman each had several solos they performed as well as a few duos.  They had a nice chemistry together and even included a few dance moves during the more upbeat songs that they managed to navigate on the small amount of stage space they had in front of the full orchestra. 

In the first act Weitzer delivered a forecful "Swanee" and Thurman sang a charming "'S Wonderful" from Funny Face and Weitzer joined her on a lovely performance of that show's "He Loves and She Loves."   Her take on "Looking for a Boy" was simply lovely.  Their duet of "Embraceable You" was romantic and stirring.  The act ended with an expert take on "An American in Paris." Hearing this separated from the Gene Kelly film that people most know the piece from really allows you to focus on how Gershwin wrote it and how playful it is.  Gershwin flirts a little with us in how the piece moves from one style to another and even toys with us in how the ending builds and builds and then ends with a powerful flourish. 

The second act began with the Porgy and Bess medley that was just astounding.  That was followed by the humorous "By Strauss" performed by Weitzer where she got to show off her operatic skills.  Thurman charmed on "Lady Be Good" and then Weitzer gave a lovely yet forceful "Someone to Watch Over Me."  The "Cuban Overture" was perfectly played by the orchestra in a rousing, jazzy and simply amazing way.  Steichen then played the piano on a couple of selections including when Thurman sang a short but sweet take on "They All Laughed" and Weitzer delivered a torchy version of "Do It Again."  The concert ended with a rousing duet of "I Got Rhythm" and an encore of "Let's Call the Whole Thing Off."
The NJSO is such a great orchestra and I never tire of listening to them play. This is the third or fourth time we've had Stiechen leading the NJSO and I absolutely love how he provides important bits of information about the composer and pieces before or after each selection.  You can tell how much he enjoys the material, the orchestra and just conducting in general. 

concert review, ALFIE BOE, Bergen Arts Center, January 31

Who knew that inside opera singer turned musical theatre/recording artist and PBS pledge drive star Alfie Boe was a budding rock star?  Boe is the "crossover" sensation that came to fame due to his performance as Jean Valjean in the 25th Anniversary concert production of Les Miserables that was seen on PBS in the US during many pledge break weeks.

Backed by his five piece band, Boe rocked out at the Bergen Arts Center last Thursday night on classic pop rock hits including ones by The Doobie Brothers, Elvis and the Allman Brothers as well as some traditional folk songs and musical theatre hits.  And while it might have been a little bit of a shock to those in the audience who came to see Boe sing familiar songs from Les Miserables or Phantom of the Opera, or even an opera selection or two since that is where he got his start, Boe pretty much made every song work with his powerful, soaring tenor voice.  He did include a couple of musical theatre songs as well but it definitely wasn't the focus of the evening.

Featuring many songs from his recording "Alfie" (which I reviewed here when it was released last Summer) and a few tunes from his latest release "Storyteller" (review coming soon) the concert was an eclectic mix of pop, rock, blues, classical and Broadway.  And while Alfie's powerful voice wasn't always a perfect fit for every song, the joy he brings to each tune was evident throughout.  You can tell these songs are some of his favorite ones as well and when combined with a powerful band they made the whole evening into a rocking event.


Alfie performing in Les Miserables in London

A somewhat meandering "Song of the Siren" got the concert off to a little bit of a rocky start but Boe quickly turned things around with performances of several songs off his "Alfie" cd.  These included a touching and personal performance of "In My Daughter's Eyes," a smooth, slow and sexy "The First Time Ever I Saw Your Face" as well as three musical theatre songs, a fast and jazzy "Being Alive," a soaring "Bring Him Home" and a rousing "Wheels of A Dream" that ended the first act.  
The second act featured several traditional Italian and Spanish folk songs that included a pairing of "O Sole Mio" and the Elvis classic "It's Now or Never."   It was an interesting combination that on paper would seem very odd but Alfie managed to combine the two songs into something greater than you'd expect.  Another Elvis hit "That's All Right" got the audience moving in their seats.  He also included several pop/rock classics including The Doobie Brother's "Listen to the Music" as well as The Allman Brother's Band "Midnight Rider" where he got about twenty young kids from the audience up on the stage with him to dance along to the music. 

As well presented and performed as these songs were it was three story songs that I believe fared best.  All three of these are emotional and spiritual and have an uplifting theme even though they are fairly depressing songs on the surface.  Two of these songs are very old songs as well.  The first, "Wayfaring Stranger" is an early American folk song telling the story of a man's journey to the promised land and "Rank Strangers to Me" which tells the story of a man returning from fighting in the Civil War and not knowing how to fit back into society.   Both of these songs had stirring arrangements with Alfie's voice soaring to the rafters throughout.  He ended the concert with an extended version of "Angel From Montgomery," a song from the early 1970's by John Prine that many folk and country singers have covered, including Bonnie Raitt.  This song tells the story of a woman who is tired of her life and wants an angel to come and take her away so she can be free.  Alfe's voice pierced through the lyrics of the chorus, "Just give me one thing that I can hold on to, to believe in this living is just a hard way to go" that are repeated throughout and perfectly capture the image of this woman who just wants a better life.

Throughout the concert Alfie had a lovely connection with the audience, including several moments when he came out into the crowd to either jokingly harass latecomers or to find a man who was singing along on "O Sole Mio" to let him have a few seconds in the spotlight.  He obviously enjoys singing these songs and sharing his love for these songs with an audience.  I also especially liked how Alfie didn't seem to want the concert to end and how when he took his final bow he pulled his band mates close to him and took a bow with all of them instead of just a solo one by himself.

The statement Alfie made at the end of the concert pretty much sums up the message he is trying to get out there - "We've tried to show you there is no division between music, from classical to blues to rock to soul to musical theatre to country.  It's just one big happy world."

Alfie's official site



Alfie performs "Angel from Montgomery":

"Wayfaring Stranger"

"Bring Him Home" with the Mormom Tabernacle Choir:

"O Sole Mio" and "It's Now Or Never"

 and the song that put him on the map..."Bring Him Home" from the 25th Anniversary Les Mis concert: