If you look carefully at the sidewalk on W. 45th Street you will find, nestled between 5th and 6th Avenues at number 45, a projected light proclaiming Madame George. And if you open that door, check in, and descend the rather steep staircase, you will find yourself in what, a century ago, might well have been a speakeasy but is currently a comfortably appointed bar with comfortable seating, subdued lighting, excellent sound and what may well be, dollar for dollar, singer for singer, song for song, the best bargain to be found in the world of New York music. Producer Danny Lipsitz is a constant and welcome presence during the evening, contributing stellar vocals and impressive turns on the saxophone and clarinet, and even a bit of piano for good measure.
Producer Danny Lipsitz (Photo: Blackstorm Productions)
The first set of the evening belonged to the band, and they waste little time proving that they deserve it. Jack Redsecker on keyboards, PJ Roberts on bass, and Nathan Ellman-Bell on drums match arranger Lipsitz in chops, electricity, and musical mastery. There is something about a horn player who sings, sliding into the vocal groove of a song with effortless cool and buoyant confidence. That’s just what Danny Lipsitz does, whether it’s on Michael Jackson’s “The Way You Make Me Feel,” or ripping through “My Baby Just Cares for Me” (Walter Donaldson, Gus Kahn) like a runaway train or turning the room into a Bourbon Street Pub with a New Orleans flavored “Little Liza Jane” (public domain). It was indicative of the crowd-pleasing looseness of the evening (not to mention the stunning musicianship) that during that song a man walked in with a huge backpack, went to the side of the stage, removed an accordion from said bag, stepped closer to the band and joined in without missing a beat, completing the Louisiana dreamscape.
Anyone just wandering in would have been more than satisfied at the prospect of this dynamite ensemble entertaining for the entire evening. Yet, the first set was merely the tip of a spectacular musical iceberg beginning with emcee Diva LaMarr, vocalizing most of his patter and introductions in the most delightful manner and eventually taking the stage for himself with a raucous, rowdy, revelrous “Minnie the Moocher” (Cab Calloway), kicking up his glittered heels for all to see. LaMarr explained the title and concept of the show by revealing that the guest roster was made up of Broadway and theatre stars, and stars-in-the-making, appearing with the proviso that they could sing anything but show tunes, opening the way for any number of wonderfully reimagined soul, R&B, jazz, pop, and even rap (although the last was absent the night I attended) songs enhanced with the vocal power and storytelling acumen of legit singers.
The featured performances began with songs by Bistro Award-winner Blaine Alden Krauss who gave the audience an infectious take on “I Wanna Be Where You Are” (Arthur “T-Boy” Ross, Leon Ware) followed by a deeply personal “Feeling Good” (Anthony Newley, Leslie Bricusse) dedicated to Nina Simone. Krauss’s exquisite phrasing and vocal range and power captured the hope, the dreams, the passion and the faith of the lyrics like few singers have. He returned in a subsequent set to offer a delightful “Fly Me to the Moon” (Bart Howard) and then finished with Bernard Ighner’s “Everything Must Change” capturing all the power and passion and beauty of the piece.
Blaine Alden Krauss
Darnell White, who accompanied Krauss on that showstopper, had his own moment to shine from the piano to dazzle with a sensitive and then swinging tour-de-force performance of “On the Street Where You Live” (Frederick Lowe, Alan Jay Lerner, from My Fair Lady). (He received a dispensation from the non-Broadway rule since he is not a Broadway performer.) The other featured guest of the night was Treston Henderson who appeared on Broadway in the latest revival of The Wiz and has just returned from the touring company of MJ. On “Lovely Day” (Bill Withers, Skip Scarborough) and “Just My Imagination” (Norman Whitfield, Barrett Strong) he sang with the perfect mix of sweetness and strength. He then partnered with his friend, Kala Ross, on a fiery “Ain’t No Mountain High Enough” (Nick Ashford, Valerie Simpson). Henderson returned later for a heartfelt take on Stevie Wonder’s “Isn’t She Lovely” and then surprised the crowd with a wonderfully effective “I Love You I Do” (Henry Krieger, Siedah Garrett, from the film of Dreamgirls).
LaMarr (eventually joined by the entire ensemble) closed out Broadway Night Off with a raucous “What’s Up” (Linda Perry) that brought the audience to its feet and deservedly so. There is music at Madame George every night except Sunday but I will be returning on a Monday soon. As emcee LaMarr reminded us, there is a new and different show every week.
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Broadway Night Off presented Monday evenings at Madame George, 45 W. 45th St., NYC.
Gerry Geddes, critic for BistroAwards.com, is an award-winning director, writer, teacher, performer, lyricist, and a contributor to the podcast Troubadours and Raconteurs. He conceived and directed the acclaimed musical revues Monday in the Dark with George (Bistro and MAC Award winner), Put on Your Saturday Suit—Words & Music by Jimmy Webb, and Gerry Geddes & Company (in its five-year residency at Pangea). He has directed singers André De Shields, Darius de Haas, Helen Baldassare, and Lisa Viggiano. He has been active in the cabaret world for over five decades and has produced numerous CDs; his lyrics have been performed and recorded here and in Europe. Gerry’s workshop, The Art of Vocal Performance, is regularly offered to singers of all levels. His memoir of life in NYC, Didn’t I Ever Tell You This?, was recently published and is available at barnesandnoble.com. He is currently at work on his first novel.
