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Theatre Review: “Jerry’s Girls”

Can’t get tickets to Hello, Dolly? Well for the rest of this week, you can hear all of the major songs from that show sung beautifully, plus just about every other great song Dolly composer Jerry Herman wrote, in the York Theatre’s “Musicals in Mufti” presentation of Jerry’s Girls, a revue of Herman’s best, designed for a trio of women. “Mufti” refers to “everyday clothes,” and this series from the York presents worthy but neglected musicals of the past in something between a staged reading and a full production, in rehearsal clothes with script in hand, minimal rehearsal and no design elements. The stellar trio in this production are Stephanie D’Abruzzo (Avenue Q), Christine Pedi (Forbidden Broadway) and Stephanie Umoh (Ragtime...

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Interview: Mark Nadler Curates New Cabaret Space

The man Stephen Holden of the New York Times has dubbed “Mr. Entertainment,” Mark Nadler is curating a new cabaret space, the Beach Café, on Second Avenue and East 70th Street. When asked to describe Mark’s unique cabaret personality, I always return to an image of him performing that’s burned in my memory. At one point during American Rhapsody a long-running Gershwin tribute he did with KT Sullivan, Nadler, in white tie and tails, leapt from floor to piano bench, tap-dancing madly, singing and keeping steady eye contact with the audience – all this while playing a complex passage on the piano without even glancing at the keys. The man sweats talent from every pore. Many of the shows in the first few...

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Cabaret Review: Ginger Minj

The Minj has genuine article musical theatre training and chops. Departing from previous showtune-heavy shows, however, she has made the move of structuring her new cabaret act Sweet T around a more rock oriented songlist, including a handful of autobiographical songs for which she wrote the lyrics. Sweet T only features a handful of songs, with much more monologue and audience interaction. Ginger is a very engaging stage persona, so overall this is a good thing. Also, half the songs are ballads, which would be a problem if they followed close on each other, but matters less with story in between. The act is in the very traditional mold of “this is my life” autobiographical cabarets, telling much the same story as her previous shows, but...

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Cabaret Review: Alaska Thunderfuck 5000

This is the best Golden Girls tribute I’ve seen on stage, and for someone who has been covering gay New York entertainment for a long time that’s saying something (I think GG tributes are outnumbered only by Judy Garland tributes). I attribute its success to the fact that Alaska and her pianist Handsome Jeremy are huge Golden Girls fanatics themselves, to the point that they talk about the series being their scripture. If that’s so, this show, entitled “On Golden Girls,” is all about songs from the hymnal, giving us stories and songs from each of the ladies in turn. This very, very tall queen is a natural for a Bea Arthur, but hilariously portrays Estelle Getty by walking in on her knees...

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Cabaret Review: Annie Ross

This lady is a legend in jazz for her vital part in developing the bop-influenced art called vocalese, which Wikipedia describes as “a style or musical genre of jazz singing wherein words are sung to melodies that were originally part of an all-instrumental composition or improvisation.” There’s not a lot of vocalese in her act these days, but she’s still a sharp, smart interpreter of standards, as well as bebop specialty material on subjects like marijuana and meatballs. Ross still possesses a smoldering charisma and confidence, as well as an unfailingly swinging sense of rhythm. Plus, she’s a fine musical storyteller; her rendition of “A Nightingale Sang in Berkeley Square” covers many more shades of emotions than most versions, passing from...

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