Conventional Wisdom
Once a year in New York City, for one week, cabaret emerges from small, dark rooms to celebrate itself in front of thousands of people, concert style. The Mabel Mercer Foundation’s Cabaret Convention, which concludes on Sunday afternoon, is now in its 16th year of celebraton — and it’s happening in high style at a new location, Jazz at Lincoln Center’s Rose Hall.
We took in Tuesday night’s tribute to jazz pianist/vocalist Barbara Carroll and got a taste of a wide variety of talents. Spencer Day opened the evening, and his performance proved to be one of the highlights of the show. Displaying a fascinating combination of jazz musicianship and country twang, Day set a standard that not every other entertainer managed to match; his rendition of “Don’t You Worry About Me,” a song of his own competition, sent a clear message to these critics that this young artist is a major talent.
“Slow” seemed to be the watchword of the night, at least early on. The usually reliable Mary Foster Conklin sang Matt Dennis’s “Angel Eyes” like she was driving through a school zone; any slower and she would have come to a dead stop. Likewise, Laurel Masse took the title of “Sweet & Slow” far too literally. Happily, sandwiched between those two, Eric Comstock brought his easy charm to the piano and affably tossed off “Nowadays” from Chicago.
Barbara Fasano, Heather Sullivan, Allan Harris, and Ronny Whyte were among those who effectively held the spotlight with their varied selections, only some of which were tied in to the evening’s honoree. It was fitting that the one entertainer who roused the audience to extended applause — even a standing ovation — was Carroll herself, yet it was odd how she was used in the program. She closed the first act with several songs, opened the second act with one, and then performed one additional number at the very end. Because of that programming, her final tune seemed anti-climactic.
While there was plenty of talent on stage throughout the three-hour concert, there wasn’t much movement. It was a particularly static show, with virtually every performer who wasn’t at the keyboard standing in the crook of the piano or center stage. Nobody swept across the stage from side to side to engage the audience more fully. Perhaps this had to do with the performers’ lack of experience in the new hall. But the house was packed and the attendees seemed comfortable in their new surroundings, all of which bodes well for the Cabaret Convention’s continued success.
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Sock It To Us!
The funniest thing about Harvey Finkelstein’s Sock Puppet Showgirls is the title. The second funniest thing is the concept. The least funny thing about the show is…the show. Supposedly produced by puppet impresario Harvey Finkelstein (a sock puppet himself), it was actually created by John Shaterian, Stephanie Shaterian, Andrew McNeal, Sash McNeal, and Jimmy McDermott. The main problem is that it’s next to impossible to parody something that’s so close to parody itself — this case, the notorious film Showgirls. (Most people we know laughed their way through the movie).
Still, Sock Puppet Showgirls does have its moments. When you come right down to it, sock puppets with breasts are funny; and when a clever idea propels a particular scene in the show, you understand the potential for the entire piece. The best sequence by far is the underwater sex scene in the pool. The jokes here are funny, and it’s a hoot when water pistols are shot at the patrons to simulate splashing waves.
If you stick your toe into this sock, it will tickle, but be advised that what we have here is definitely not a puppet show for kids. These socks are filthy — and we’re not talking about grass stains. Maybe that’s why The Ace of Clubs was packed. Puppet sex sells!
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[To contact the Siegels directly, e-mail them at siegels@theatermania.com.]
