Mosher is one of those talents you need to see to believe: warm, funny, biting, ferociously committed. In her weekly series at the downstairs Birdland Theater, she invites a gaggle of performers from Broadway and beyond to show their talents. Guests at the August 20 edition include Aisha De Haas, AmyLynn, Carly Ozard, Nicole Zuraitis, Thana Alexa, Julia Adamy, Emily Braden, Eric Poindexter, Tara Martinez, Gianmarco Soresi, John Miller and guest musical director Billy Stritch.
Broadway by the Year impresario Scott Siegel curates this monthly concert series, in which Broadway stars sing some of the Great White Way's best-loved tunes.
The hilariously loud and grumpy Hoffman, who has stolen Broadway shows including Hairspray and Charlie and the Chocolate Factory (and memorably lost a 2017 Emmy for her supporting turn Feud: Bette and Joan), is a throwback to the golden age of nightclub acts, when performers overflowed with larger-than-life personality. A cranky character comedian to the core, she hasn't mellowed out with success, and her robust whine gets even better with age. On a night off from her current role as Yente in Fiddler on the Roof in Yiddish she performs a new set at Joe's Pub, directed as usual by Michael Schiralli.
Once better known behind the scenes as a director, writer, producer and graphic designer, Rozelle has moved into the spotlight himself recently in a series of solo shows. Now he hosts this very affordable Tuesday-night variety show twice a month at F/54, featuring interviews, songs, games, celebrity guests and emerging talents. The August 20 edition is set to feature Bonnie Milligan (Head Over Heels), Kyle Taylor Parker (Kinky Boots) and Natalie Walker (Alice By Heart); Micaela Diamond (The Cher Show) and Nathan Salstone (Harry Potter and the Cursed Child) are booked for August 27.
The popular and polished standard-bearer of American song returns to the club that bears his name for a three-week run devoted to tunes that celebrate New York City; the set includes a salute to the masterfully ebullient singer-pianist Bobby Short, who defined the champagne wing of cabaret in his four-decade run at the Café Carlyle. Feinstein is joined by special guests Marilyn Maye (August 6–13), Melissa Manchester (August 15–20) and Jackie Evancho (August 21–23).
Twin-brother saxophone players Peter and Will Anderson, masters of vintage jazz styles ranging from swing to hardbop, flip through four chapters of the Great American Songbook in this Symphony Space residency, devoting a week apiece to Duke Ellington (August 13–15) and Louis Armstrong (August 21–23). They are joined by vocalist Molly Ryan and musicians including bassist Vince Giordano.
Best known to theater audiences for replacing Idina Menzel as Elpheba in Wicked and, more recently, starring as Jenna in Waitress the big-voiced Bean dips into the Broadway catalog in her Feinstein's/54 Below debut. Although she has diversified into pop in her four studio albums, this concert is devoted exclusively to musical-theater songs from roles she has played onstage, would like to play onstage or knows she will never play onstage.
Part cabaret, part piano bar and part social set, Cast Party offers a chance to hear rising and established talents step up to the microphone (backed by the slap and tickle of Steve Doyle on bass and Billy Stritch at the ivories, plus the bang of Daniel Glass on drums). The waggish Caruso presides as host.
Theater review by Helen Shaw The Noël Coward touch was always a light one. His music scampers like a mouse; his lyrics bounce like balloons. In his plays, even suffering has an upward tendency. But when his work is excerpted and performed by others, that glancing quality can turn coy and saccharine, as it sometimes does in Barry Day’s two-handed cabaret Love, Noël. Reading from Coward’s letters and covering nearly two dozen songs, cabaret stars Steve Ross and KT Sullivan pay Coward tribute. Sometimes Ross, the longtime king of café cabaret, is his own tuxedoed self, and sometimes he’s pretending to be Coward; an amused-seeming Sullivan takes on all the women. (She does a great, gloomy Marlene Dietrich.) Day’s text is a spindly framework, built from constructions like “Wasn’t it Lord Mountbatten who said…?” that lead into quotations about or by Coward. These nonmusical sequences are a bit gluey, and as source material, the letters are strangely non-intimate. Luckily, the banter’s just a pretext to get Ross’s hands moving confidently over the keys again. The duo sings “Mad About the Boy,” “Together with Music” and “I’ll Follow My Secret Heart,” and Sullivan’s fairy-footed soprano gleams like metal. Ross creaks a little (he’s been performing in New York since 1968), but his affinity for the music sustains and buoys him. You can hear the effort—but the songs convince us that we’re wrong, that we’re hearing only lightness and the dance. Irish Repertory Theatre (Off Broadway).
With the Farewell Yellow Brick Road tour, Sir Elton John is saying a final goodbye to the touring life. That's right—this is your final chance to catch the rollicking songman live in person, as he takes the audience on a massive visual journey spanning his entire 50-year career. Swoon along to "Tiny Dancer," make juvenile hand gestures to "Crocodile Rock" and smile meaningfully at your folks during "Can You Feel the Love Tonight" here for one last time.