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Mark Nadler: Russian on the Side (thru 6/15)
In our Ipod age, variety performers, especially good ones, are rare. Singer/pianist/arranger and “dancer” Mark Nadler is extraordinary. In Russian on the Side, (through June 15 at the Royal George Theater, 1642 North Halsted Street), cabaret award winner Nadler shines at a smorgasbord of entertainment skills.
Nadler has been justifiably likened to the late Danny Kaye. Russians revolves around the patter song “Tschaikowsky and Other Russians” by Kurt Weill and Ira Gershwin. It contains the tongue-twisting names of nearly 50 Russian composers and was a signature tune of Kaye’s. Nadler assures audience members that they will be able to sing the tune by the show’s end. What follows is exploration of the composers listed in the song. Some, like Igor Stravinski, achieved fame . Others do not. Nadler’s explanation of why is both fascinating and dear. Sometimes, those less talented become famous through scandal. Sometimes, those quite talented simply go unsung (forgive the pun). Nadler wistfully expresses appreciation for the latter and in this celebrity-rehab-in-the-headlines culture, we get it.
He offers another Kaye signature tune with “The Ugly Duckling” by Frank Loesser (from the film Hans Christian Andersen). He finds levels of pathos that Kaye never did (perhaps considering the film children’s entertainment). While Kaye, who was married and fathered a daughter, is today recognized by many as a gay man, his was not a time when openly gay entertainers were readily accepted. Nadler, in his introduction to the song, shares his own “outsider” story of growing up in Iowa -- gay, Jewish, and the son of immigrants. The duckling’s peer rejection (“Quack! Get out of town!”) is no fairy tale in Nadler’s hands. As we listen to Nadler reveal the duckling’s ultimate recognition of himself as a beautiful swan, we simultaneously appreciate Nadler’s self-recognition --- as well as, perhaps, our own. This portion of Russian on the Side provides much needed quiet reflection and personal connection in a show that hungers for even more of it.
Nadler sings beautifully, moves like a gazelle, and he’s funny. He knocks out a vaudeville-esque “dance”while playing the piano. The “Prokophylactic” line is a hoot. Singer/pianists face the challenge of becoming stuck behind the keyboard. He overcomes this challenge in delightful ways: he stands on the piano, sits Indian style on the lid, and even slithers across it on his belly.While the frenetic Nadler generally sparkles, the show doesn’t always. It can border on the academic as it offers anecdotes on lesser known composers. (At times Russian reminds of Robert Whul’s HBO history show). There is some drag in the middle. The connections between the Russian composers and those of the Great American Songbook (Stravinsky influencing Gershwin, for example) may mean more to classical music or musical theater geeks than to others. And a few of us cabaret nerds are disappointed that we really didn’t learn Ira’s lyrics to the song.
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