The Best Is Yet to Come: The Music of Cy Coleman
This world premiere musical revue is a classy, joyful production featuring David Burnham, Jason Graae, Sally Mayes, Julia Murney, Lillias White, and Billy Stritch.
Zippel has assembled an impressive array of talent for this 85-minute intermissionless show, and establishes very clear character types for each actor -- handsome leading man (David Burnham), comic character man (Jason Graae), Everywoman (Sally Mayes), worldly sophisticate (Julia Murney), and delicious diva (Lillias White). Also added into the mix is musical director and performer Billy Stritch, the renowned jazz and cabaret vocalist/pianist who was mentored by Coleman.
The snazzy group opening number, "The Best is Yet to Come," proves a prophetically true kick-off to an evening of multiple showstoppers and toppers. White earned herself an ecstatic mid-show standing ovation for her comically sassy portrayal of a well-used and worn-out pro who's getting too old for sex in the hilarious "Never Met a Man I Didn't Like." In contrast, Murney is a lovely study in simplicity in the plaintive "Come Summer." She also gets to strut her stuff in the lighthearted "Hey, Look Me Over/The Doodling Song." Mayes sells the look-on-the-bright-side spirit of losing in the bouncy "Nobody Does It Like Me," but has mixed success on the evening's big torch song, "With Every Breath I Take." While she excels in using her head voice, she tends to lose power in her lower register, and the range is wide in this City of Angels spotlight number.
The impish Graae gets to display his comic charms with the ladies in "You Fascinate Me So" and "What You Don't Know About Women," and casts a spell with "Witchcraft." Burnham exudes suave confidence in "I've Got Your Number," and later gets to the heart of longing and desire with his thrilling star turn in "I'd Give the World." Stritch gets playful with White in their "Little Me" duet, and amazes in his heartfelt solo, "It Amazes Me."
Douglas W. Schmidt's beautiful black, white and silver set is obviously inspired by the big band era, a time in which piano prodigy Coleman enjoyed early success before his long and storied Broadway career. The set is lovingly colorized by lighting designer Michael Gilliam to enhance emotional responses to the more than 20 presented songs that Coleman wrote with such collaborators as Carolyn Leigh, Dorothy Fields, Betty Comden and Adolph Green, Marilyn and Alan Bergman, Zippel and others.