Tweet this article !

I’ve been spending some time over the last week and a half hearing opinions of various folks who attended the May 4 MAC Awards show and I’ve been reflecting on the evening myself.  The way one experiences such an event has so much to do with what one knows, has already seen, expects, and cares about going in.  So many things can color the way it’s perceived.  Collecting opinions over these days has been rather interesting, if only to see what sticks in people’s minds after a few days go by.  And when some months go by, and it’s time to plan and prepare for the next year’s MAC Awards, hopefully we can apply what has been learned. 

Let me say right away that most everyone I spoke to felt that the evening went very well,

had plenty of solid entertainment, and felt well-planned and organized.  I agree.  So, CONGRATULATIONS and THANKS to producer Julie Miller as well as Lennie Watts, the evening’s director who also picked up an award for his cabaret directing work throughout 2009 and is MAC’s President.

 

Here are some random things I heard and thoughts of my own as a longtime watcher of the cabaret scene and attendee of  MAC, and other awards shows:

Most people who’d been to many MAC Awards shows agreed with me that this was one of the best.  Perhaps it wasn’t dramatic and full of surprises, appearances by rarely-seen performers, high emotion or memorably moving or hilarious acceptance speeches, but most felt it moved well most of the time and was entertaining, even if not every song was your cup of tea.  With so many flavors of tea in the cabaret teapot --- mellow Chamomile, red zinger, classic brew--- how could it be? As far as highlights and favorite moments, I kept hearing that the segment revealing the not-widely-exposed singing talents of several nightclub staff more often seen in the lighting booth, behind the bar or podium was a winner.  The revealing of these talents getting a moment in the spotlight and

the “who knew?!” reaction and a sense of discovery --- it was all about that.  Sure, not everyone I spoke to was knocked out equally by everyone in that group, but they loved the idea and execution and the respectful way it was done.  Don’t Tell Mama’s staff members Randy Lester (who got the last solo spot, sending notes to the sky with “A Piece of Sky”) was mentioned by everyone including my colleague here, Andrew Martin.  I add my own praise and thought she really hit a home run and was exciting as she belted, adding energy to the energy, making the icing on an already rich cake laced with dynamite.  I hope she’ll take a break from adjusting mics and sing into them more often --- not that she really would even

John Colianni, Jay Leonhart and Lou Pallo

need a mic.  Her colleague, Denise Andersen (also mentioned by Andrew and many others) was, I agree, a powerful presence, too, singing “Summertime” and personalizing it with her own style and interpretation.  Isn’t that what cabaret is about?  And for a taste of real invigorating male vocal musical theater heft and class, Brad Wills was superb with a song from Maury Yeston’s Phantom score.

As host, the acerbic and yet gracious Sharon McNight got solid marks from people I spoke with.  A bit more of her would have been welcome, and audience members appreciated the variety she could

offer: songs, caustic comments, knowing observations, her very sharp timing, a Bette Davis impression, etc.  The winking quips also managed a dose of reality to deflect any aura of pretentiousness or denial about this segment of show biz. Her “veteran” status seemed to be just what the doctor ordered.  Saying at the beginning that only one winner can be selected, she tongue-in-cheekily addressed all nominees, saying, “Three-quarters of you will leave as very bitter people.”  That broke the ice!

The other performer who got consistent raves, including mine, was Angela Shultz, winner of the Hanson Award.  Some had only seen her do serious songs and were delighted that she nailed the hilarious song “My Moment” (“The American Idol Song”), taking the stage with this number that spoofs the mannerisms and excesses and modulations so often seen on that TV talent contest.  It was written by Hector Coris, MAC’s Vice-President, who picked up an award of his own in the Male Vocal category for his own show, directed by Angela.  Of course, some people had left by the time this award was announced near the end.  While most people agreed there was much to savor, even diehard baseball fans can be looking at their watches and start to exit when the game goes into extra innings.  So, this brings us to the people who said, “It was mostly good, but what could have been cut or wasn’t necessary or went on too long?”  Here, opinions varied.  Extra added attractions were like too many desserts and courses at an already big Thanksgiving feast for some.  When a singer does more than one song or it’s a two-song medley that goes back and forth and on and on and in and out and back again, that can sure feel longer than your average number.  Maybe because it is.  Late, late in the evening when KT Sullivan and Mark Nadler took a big scoop and a half of Gershwin, it felt longer.  Lucie Arnaz was also towards the end and also did a two-song medley and talked for a while, adding both time and class.  And also a cute, short joke about roosters. Maybe what cabaret needs is more rooster jokes.  Or a real cock-a-doodle-doo to wake up sleepy audience members.  Tony DeSare also got two vocal spots.  Some said to me, “Great stuff. But why two?” and some added that these seemed superfluous when none of the above were nominees, just extra added attractions.  But very attractive attractions.  Leslie Uggams, as the Lifetime Achievement winner, more understandably got a big chunk of time to both sing and talk and brought some star quality and sparkle and nostalgia. Introducing Miss Uggams but not singing, most agreed that it was cool to see Broadway star Brian Stokes Mitchell who comes with charisma but his speech, more a long list of her many credits in various fields had diminishing returns and was verrrrrrrry long where the time would have been better served with something we couldn’t read by Googling – like some personal inside stories or observations.  Likewise, the award to Playbill.com, which Karen Mason was saddled with, went on and on and on and on like the longest press release description of their history, and accepting it at length, their representative added to the history chapters and mission statement. Adam Feldman’s intro heaping praise upon Brandon Cutrell did go on a bit, too.  KT Sullivan’s anecdotes about Cabaret Scenes publisher Peter Leavy were more personal but didn’t zero in on his work as much as his kindnesses to people named Sullivan.  Peter’s speech, though, was gracious and dignified and imbued with his real love for cabaret and the need to nurture and publicize it through the magazine and its website.  Since I work for him and admire him, I guess I had a little more invested.  And that brings us to point of view.

For me, having seen most of these performers in my lucky position of seeing tons of cabaret, not much surprised me or had a big build-up.  But what about someone coming in with fresher eyes and ears who might have only heard about a particular artist?  I spoke with a singer who is younger and just hasn’t seen as many shows but is no neophyte.  Talking about the Major Artist nominees who performed, she mentioned that she’d heard a lot about Barbara Fasano and Eric Comstock but finally seeing them in action, she was not bowled over.  Like the title of Peggy Lee’s song hit, she had an “Is That All There Is?” reaction, wondering what all the fuss was about.  This reminded me that their choice (another one of those song combos) was not, I thought, ideal, as it didn’t really show all their strengths: it was more of a “charm” moment.  Baby Jane Dexter, who won in this category, did her surefire gutsy piece “Everybody Hurts.”  I’ve seen it several times and it always hits people in the gut.  My gut was prepared, but I admired the performance and its integrity; a fellow critic had the exact same take.  Those experiencing it for the first time were pretty much swept away.  Some who had only seen Terese Genecco do roof-raisers in the past were struck by the depth and intensity of her number, especially since they would not have expected so much drama from “Heartbreak Hotel.”

Honoring the late Les Paul, the segment devoted to him was moving, taking his trademark song “How High the Moon” at first slowly as a kind of eulogy and then gathering steam and tempo as a celebration.  We heard it differently under the circumstances, too. History and emotion – there’s no substitute for their impact and how they influence what we hear in the moment.

 

So what’s the bottom line?

Perspective is a funny thing.  Not ha-ha funny.  Interesting funny.  It can make time feel different and the prism you look through can skew the view.  (Or was that the three vodka martinis?)  If you happened to have been a nominee or connected in some emotional or professional way to one (or two) (or three) (or more), maybe it was all about watching and waiting and wondering and worrying.  Did that prevent you from enjoying the entertainment a bit—or a lot?  And if the name you wanted to be in the envelope wasn’t in the envelope, did that kill the mood thereafter?  Those who cared less about who won or who “wuz robbed” or didn’t know the work of many nominees tended to focus more on the performances of the night and so the speeches and introductions felt like interruptions in a pretty good show, like TV commercials during  an engrossing drama.  And sure, there was some drama--- but that’s another story.

Unlike the Nightlife Awards in January, where no acceptance speeches are allowed, most award shows are a mix of speeches and songs/comedy and we need to accept that as a given.  We also have to accept that there will be stage waits to get the person on stage because he can’t be waiting just behind the curtain or given a cue from a seat.  Those brief stage waits in a large venue like B.B. King all added up is a chunk of time, making the long show that much longer.  Other than supplying track shoes or seating all nominees close to the stage apart from their friends and family, not much can be done to speed this up.  Conveniently, when the category of Musical Director came up, the winner was already on stage as the evening’s Musical Director: Tracy Stark, who did a splendid job with the “all-girl band.”  The wondering whose name is in that envelope and what the winner will say, surprised or not, is part of this awards show; Bistro and Nightlife Award recipients are announced way in advance.  Only a few of MAC honorees for Lifetime Achievement and two Board of Directors Awards, the Hanson Award and the Time Out New York winner were announced ahead of time.

Although a couple of people joked about cabaret artists’ solipsistic tendencies (“How can I make this all about me?”), some fell into that trap, basking too much in the spotlight, as if they forgot for a moment that they were many cogs in this wheel called MAC.

Although most of the speeches were rather run-of-the-mill thank-yous, mostly they were short and sweet.  Ricky Ritzel’s was one of the most entertaining and well-thought-out, with his cute line, “I couldn’t have done it without me,” and saying he and his director/co-writer for Hysterical Blondness, Jim Luzar “have been collaborating on variety shows since 1867.”  The category was Special Production.  Fortunately, there was a LOT that was special about this awards evening, affectionately dedicated to the memory of former MAC President Ritzel’s son, Ryan, a kid who grew up around cabaret and left the stage of the world very young.  Remembrances of performers who passed away in 2009, read by Phil Geoffrey Bond, added yet another sobering perspective and appreciation for those who have brought so much life and love and talent to cabaret.  As Lennie Watts said, using the phrase we at NiteLifeExchange.com have as our motto and mission, the year in cabaret and MAC has been one where “raising the bar” did happen.  When all was said and sung, it was time to hit the bars for many, at after-parties and to drink a toast in celebration and a look to the future.

 

***PHOTO CREDIT: Maryann Lopinto

Captions for the above pictures, listed from top to bottom:

1. The newly-designed attractive MAC Award, now on the mantles of some lucky and talented winners.

 

2. Broadway’s Brian Stoke Mitchell, who presented the Lifetime Achievement Award, with Julie Miller, producer of the MAC Awards show, a thriller via Miller.

 

3. A moving tribute to the late Les Paul, by those he’d played with, was a high class highlight.  Les Paul’s Trio continues the long tradition of Mondays at the Iridium.

 

4. After their tribute to Les Paul, his longtime pianist John Colianni (left) and guitarist Lou Pallo (right) flank bassist Jay Leonhart, who was sitting in—or rather, standing in.

 

5. Tony DeSare sang with Les Paul’s Trio and then dazzled at the keyboard, following up with “I Love a Piano.”  The audience loved him and his piano, too.

 

6. MAC’s President, Lennie Watts, who directed the event and also picked up another MAC Award for his directing work in 2009, speaks directly.

 

7. Lucie Arnaz gives her all to “Something’s Gotta Give” in medley with “It’s All Right with Me” and it was more than all right with us.

 

8. Hanson Award winner Angela Shultz had quite a marvelous moment with  “My Moment” (“The American Idol Song”)

 

9. The dandy Randy Lester, often in the tech booth, lights up the stage in a new way.

 

10. Brad Wills: Where there’s a Wills, there’s a way (with a song).

 

11. Taking a break from running the spotlight, Denise Andersen is spot-on with a blazing hot “Summertime.”

 

12. Coming into their own, “Coming Out of the Dark” participants, introduced by The Duplex’s Thomas Honeck (far left).

 

13. Lifetime Achievement Award winner Leslie Uggams stokes the flames of a Broadway memories with Brian Stokes Mitchell.

 

14. Hallelulah, Broadway baby! Leslie Uggams with “My Own Morning” makes it her own evening.

 

15. Brian Stokes Mitchell at the MAC mic.

 

16. Cabaret life is sweeter with Peter: Supporter of the art form and Cabaret Scenes Magazine publisher Peter Leavy, Board of Directors Award honoree with KT Sullivan, who introduced him.
    
    
17. Hostess with the Mostess Sharon McKnight kept the festivities moving and the audience laughing.

< Prev		Next >