BROADWAY BY THE YEAR--THE MUSICALS OF 1956 & 1975


In 1956 there was “My Fair Lady” and in 1975 there was “A Chorus Line,” just two of the shows covered in the latest of the “Broadway By the Year “ series created, written, directed and hosted by Scott Siegel and presented by The Town Hall last night (May 21, 2018). As one has come to expect, a superb array of performers assembled to interpret various Broadway songs of those chosen years.

There were robust male voices and strong female voices, with emphasis on individuality that made for freshness. As customary, Siegel provided amusing and informative background notes about what else was going on in the world and about the up-or-down fates of the various productions.

Maxine Linehan bounded on stage with so much energy to sing “I Could Have Danced All Night” from “My Fair Lady” that she made one believe she really could have. A renowned interpreter with a wide range, she also distinguished herself with excellent renditions of “It’s All Right With Me” from “Mr. Wonderful”(1956) and “The Only Home I Know” from “Shenandoah” (1975).

“The Wiz” (1975, a show that gave birth to Sidney Lumet’s movie version, was thrillingly represented by Cheryl Freeman singing “Home.”

Good looking and affable Kyle Selig opened the show with charm, singing “On the Street Where You Live” from “My Fair Lady,” and he also contributed the more difficult and complex “It Must Be So” from “Candide” (1956). Douglas Ladnier, who has an impressive leading man voice, wowed the audience with “Just in Time” from the 1956 “Bells Are Ringing,” “Joey, Joey, Joey” from “The Most Happy Fella,” also 1956, and “Cat’s in the Cradle” from “The Night That Made America Famous” (1975).

If there were a prize for the most unusual solo of the night, it would have to go to Oakley Boycott, who for starters is unusual herself—tall, slim and beautiful and cutting a stage presence like no other. She took the number “Is It a Crime?” from “Bells Are Ringing” and turned it into a mix of drama, comedy, high style and a range of body movements that added up to a show-stopper.

Carolee Carmello, an accomplished Broadway veteran, put her own zing into the “I’m Going Back” highlight from “Bells Are Ringing,” heralding liberation from being an answer service operator and returning to the “Bonjour Tristesse Brassiere Company” –“and a little modeling on the side”--accenting it by pushing up her bust in a final gesture. Carmello gave an intriguing interpretation of “Nothing” from “A Chorus Line” and “What I Did for Love” from the same show as the night’s closing number, with backing from the entire company.

Another “A Chorus Line” choice, “I Can Do That,” was sung and tap-danced with footwork wizardry by Joshua Israel, who also sang and tapped his way through “All I Care About” from “Chicago” (1975), doing his own choreography for both. Try tap-dancing on your toes.

Also in the specialty department, the robust, full-of-style and pizzazz Lance Roberts earned applause with his “Too Close for Comfort” from “Mr. Wonderful” and the rousing and especially entertaining “Gimme Me a Pigfoot (and a Bottle of Beer)” from “Me and Bessie” (1975). His outfits were undeniably the flashiest of the night.

Usually in these concerts there is a number sung as it used to be on Broadway without a mike. That accomplishment was fulfilled by Luke Grooms, who has the voice penetrating enough to pull it off, exemplified by his “My Heart is So Full of You” from “The Most Happy Fella.” He also effectively sang the “Rodgers & Hart” (1975) number “Johnny One Note,” this one with a mike.

The wide range of songs and styles required the ingenuity of musical director Ross Patterson, also on the piano, with Tom Hubbard on bass and Dave Silliman on drums, all deservingly acknowledged by Siegel. Other contributors were Holly Cruz, staging consultant; Carl Acampora, stage manager; Rick Hinkson, assistant director and assistant stage manager, and Joe Burke, production assistant. At the Town Hall, 123 West 43rd Street. Reviewed May 22, 2018.




Return to Previous Page