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Tonight, Klea Blackhurst delivered a masterful exploration of one of Broadway's most unique compositional voices.Klea Blackhurst Breathes New Life into Vernon Duke's Theatrical GemsIn the intimate confines of Chelsea Table + Stage, that most welcome addition to New York's array of distinguished musical venues, Klea Blackhurst delivered a performance of such artistry that one could easily imagine the ghosts of Broadway's golden age nodding in approval from the shadows. Her presentation of "Autumn in New York: Vernon Duke's Broadway" on Sunday evening proved not merely a recital but rather a vibrant renaissance of one of American musical theater's most intriguing compositional voices. With infectious enthusiasm, Blackhurst guided her audience through the fascinating career of a man who, as she aptly noted, could "dine regularly with both Prokofiev and Gershwin."Her insightful understanding of musical theater history immediately distinguishes Klea Blackhurst from the general run of cabaret performers. Furthermore, her ability to convey this knowledge with wit and verve transforms what might otherwise become a dusty academic exercise into an evening of theatrical delight. Her masterful interpretations of Duke standards like "April in Paris" and "I Can't Get Started" demonstrated vocal prowess and an appreciation for Duke's distinctively sophisticated musical architecture.The Musical Journey from Dukelsky to Duke and Back AgainVernon Duke's remarkable journey from classical composer to Broadway songwriter—born Vladimir Dukelsky in Russia — represents one of the most fascinating transformations in American musical history. Blackhurst illuminated this dual identity with both scholarly precision and theatrical flair. Her rendition of "Autumn in New York" (from the 1934 flop "Thumbs Up!") revealed the ambitious compositional structure that led Alec Wilder to famously praise its verse as "perhaps the most ambitious I've ever seen."With each song, Klea Blackhurst provided delightful contextual anecdotes that enriched the audience's appreciation of Duke's peculiar Broadway career. She recounted the curious intersection of Duke and Ethel Merman in the ill-fated "Sadie Thompson" with particular relish. Additionally, her stories of Eddie Cantor in "Banjo Eyes" and Mary Martin in "Dancing in the Streets" created a vivid tapestry of Broadway's golden age. Her performance of "Taking a Chance on Love" was accompanied by fascinating details about its creation for "Cabin in the Sky" in 1940, showcasing Duke's fruitful collaboration with lyricists John Latouche and Ted Fetter. Klea Blackhurst performs Autumn in New York: Vernon Duke's Broadway at Chelsea Table + Stage. Photo by Edward KliszusMasterful Musical Support Enhances Blackhurst's Commanding PresenceThe evening's musical foundation rested securely in the capable hands of a trio led by Michael Rice at the piano, whose arrangements demonstrated reverence for Duke's original compositions and subtle contemporary sensibilities. Rice's portrayal of Duke's harmonic language allowed Blackhurst to explore the full emotional range of each selection. His classical training proved valuable in navigating Duke's more sophisticated compositions, where the composer's Dukelsky persona occasionally peeks through the Broadway veneer.Bassist Ray Kilday brought remarkable sensitivity to his supportive lines, particularly in the more introspective numbers. His approach to "Poor as a Church Mouse" provided a masterclass in tasteful accompaniment. Meanwhile, guitarist Sean Harkness added colorful textures throughout the evening, and his delicate work on "Sailing at Midnight" was especially noteworthy for its evocative quality. This ensemble created an apposite musical environment for Blackhurst's interpretive gifts to flourish.Blackhurst's Commanding Presence: The Complete EntertainerHer rare combination of vocal power, comedic timing, charm, and scholarly insights makes a Klea Blackhurst performance so compelling. Her voice possesses an increasingly uncommon quality that the late Brooks Atkinson might have described as "a legitimate Broadway instrument"—robust enough to fill a theater without amplification yet sufficiently nuanced to convey the subtle emotional shadings demanded by Duke's sophisticated compositions. Her interpretation of "Not a Care in the World" displayed her ability to shift effortlessly from playful exuberance to wistful contemplation.Moreover, Blackhurst's natural comedic gifts transform what could be mere historical commentary into entertaining theatrical presentations. Her descriptions of the spectacular failures that housed Duke's most enduring songs ("April in Paris" from "Walk a Little Faster" and "Autumn in New York" from "Thumbs Up!") provoked genuine laughter while simultaneously educating her audience about Broadway's capricious nature. Throughout the evening, she maintained a perfect balance between reverence for her material and an infectious sense of fun that immediately endeared her to the audience. Klea Blackhurst in Hello Dolly at the Goodspeed Opera House. Courtesy kleablackhurst.comA Triumphant Career Built on Musical Scholarship and Theatrical BrillianceThis performance represents merely one facet of Blackhurst's impressive career. Her acclaimed tribute to Ethel Merman, "Everything the Traffic Will Allow," established her as a formidable interpreter of classic Broadway material. Additionally, her exploration of Hoagy Carmichael's catalog with Billy Stritch in "Dreaming of a Song" further demonstrated her versatility and musical sophistication.Blackhurst's theatrical credits reveal an impressive range, from New York productions of "Party Face" (opposite Hayley Mills) and "A Tree Grows in Brooklyn" to regional triumphs like the 50th-anniversary production of "Hello, Dolly!" at the Goodspeed Opera House. Furthermore, her work with symphony orchestras from Boston to Philadelphia has brought her distinctive blend of musical theater expertise and vocal excellence to classical venues nationwide.The Box Set: A Season of Musical ExplorationThe current performance forms part of Blackhurst's ambitious "Box Set" series at Chelsea Table + Stage, which continues with "A Brand New Evening with Klea Blackhurst" on May 18. Following a summer hiatus, the series will resume with "Dreaming of a Song: The Music of Hoagy Carmichael" (featuring Billy Stritch) on October 19 and conclude with her celebrated Merman tribute on November 16. This carefully curated retrospective offers longtime admirers and newcomers the opportunity to experience the full range of Blackhurst's interpretive gifts.Her upcoming performance on May 18 promises to be particularly intriguing, as it will showcase original songs from productions that never quite reached Broadway, including "Radio Gals," "Buffalo Gals," "The Nutty Professor," and "Hazel." This glimpse into the world of theatrical near-misses should provide fascinating context for understanding the commercial vagaries of the Broadway landscape—a fitting complement to her exploration of Vernon Duke's similarly checkered theatrical career.A Triumph of Scholarship, Musicianship, and Theatrical MagicIn an era when historical musical theater often receives superficial treatment, Klea Blackhurst's deep engagement with Vernon Duke's legacy represents a triumph of scholarship and showmanship. Her ability to illuminate Duke's unique position at the intersection of classical composition and Broadway songwriting transforms what might be a mere catalog of songs into a compelling narrative journey. By contextualizing Duke's work within the broader historical framework of Broadway's evolution, she provides her audience with entertainment and insights.As the enthusiastic audience reaction demonstrated, Klea Blackhurst has created not merely a cabaret act but a vital revitalization of an important yet often overlooked Broadway legacy.For those who appreciate sophisticated songwriting, illuminating historical context, and masterful theatrical interpretation, Blackhurst's remaining performances in "The Box Set" series should be considered essential viewing. Chelsea Table + Stage, with its perfect blend of intimate atmosphere and excellent acoustics, provides the ideal setting for this journey through the golden age of American musical theater.Klea Blackhurst: A Resplendent Evening of Musical TreasureChelsea Table + StageHilton Fashion District Hotel, 152 W 26th St, New York, NY 10001For Klea Blackhurst TICKETSPhone: (212) 434-0499Products and Services: chelseatableandstage.com RELATED https://youtu.be/GIaMwO6lTAM?si=lD79QI-gSfuZ_Cu_ Read the full article

NEW YORK - “Six” Stars Andrea Macasaet, Brittney Mack, and Samantha Pauly at Chelsea Table and StageAn evening with a trio of queens from the Broadway smash Six is sure to be an outstanding performance, and Andrea Macasaet, Brittney Mack, and Samantha Pauly entertained two sold-out shows at Chelsea Table and Stage (CTS) with an unforgettable concert.The three stars were humorous, even playing trivia games with the audience, and there were two surprise guests at the end of the show who sang with them.Pauly, Katherine Howard in Six, told the crowd the first show sold out in 36 hours, and they were excited to perform together. They launched into Alicia Keys’ Girl on Fire, a little out of harmony, kind of doing their own thing, which was part of their opening schtick.Pauly sang the first solo, Paramore’s classic That’s What you Get. She was stunning in black satin pants and bustier, her long dark hair cascading, and her powerful voice proves how she became an enormous star on Broadway and here at CTS.Pauly and Mack, who played Anna of Cleves, performed Found/Tonight. The song combines two popular tunes from Hamilton (Lin-Manuel Miranda) and Dear Evan Hansen (Benj Pasek and Justin Paul). Pauly and Mack’s rendition was stirring, and their combined voices were an exceptional auditory experience.In a black sparkling short skirt with ground-length netting, Mack performed a hot, throaty version of Ella Fitzgerald’s 1960s hit Black Coffee. She had a longing, dreamy tone that was heartwarming and seductive. The netting got caught several times during the evening, giving a rise to comical laughing from Pauly, Macasaet, and the audience.Macasaet, who played Anne Boleyn, performed the Billie Eilish song Happier Than Ever. The tune's title may state it’s a cheerful song, but overall, it makes listeners sad, and Macasaet’s version did just that with her stunning voice.The Barbra Streisand and Celine Dion hit Tell Him, written by David Foster, Linda Thomson, and Walter Afanasieff, was an impassioned duet by Macasaet and Mack and brought a rousing reaction. This evening’s version was melodic and deeply moving, giving rise to goosebumps and remembrance of a love song that still pulls your heartstrings.Pauly soloed the intense Waving Through a Window, written by Ben Platt. Mack performed a Sarah Vaughan favorite, Perdido, and Macasaet sang Pink Pony Club.Surprise guest vocalists Keri Rene Fuller and Keirsten Hodgens, who played Jane Seymour and Catherine Parr, respectively, joined the trio onstage, much to the overwhelming delight of the audience. The queen quintet performed the hysterically funny hit tune Don’t Lose Ur Head, the Anne Boleyn solo from Six. It was a perfect ending to a sensational evening.It was a pleasure to see such commanding performances in one room and on the stage together. Pauly praised her friends, saying, “I felt lucky to find people who took me in all of my forms.” The standing ovation acknowledged all of us in the room were the lucky ones.“Six” Stars Andrea Macasaet, Brittney Mack, and Samantha Pauly at Chelsea Table and StageChelsea Table and State presents Six Stars Andrea Macasaet, Brittney Mack, and Samantha Pauly in a special two-show event. With guest vocalists Keri Rene Fuller and Keirsten Hodgens.Chelsea Table and Stage152 W. 26th Street, NYC.Readers may also enjoy our reviews of There’s A Little Starch Left at Don’t Tell Mama, Dostoevsky’s Crime and Punishment, Encores! Once Upon a Mattress, Ibsen’s Ghost, Women on Fire: Fair is Foul, Aristocrats at the Irish Rep Theater, The Life & Times of Michael K at St. Ann’s Warehouse, The Sweet Spot, and The Days of Wine and Roses. https://youtu.be/egqqtAo8WSI?si=B-pI7MT99mRiIguG

Ari Axelrod’s show, A Place for Us: A Celebration of Jewish Broadway, is billed as a performance that spotlights Jewish cultural influences on the songs of Broadway composers, focusing specifically on that link. I went because I love musicals, love the musicals of the past, love the songs featured in the evening, and couldn’t wait to celebrate the remarkably gifted magical composers and their beloved creations.Ari opened with a beautiful instrumental version of the Israeli National anthem, and the woman at the table next to me stood in respect and honor. Then he launched into Jason Robert Brown’s incomparable song “Hope” as the pain currently roiling in the Middle East could not be ignored. It was the perfect song for this moment in time. It is a stunning song and reminded me of James Baldwin, “Not everything that is faced can be changed, but nothing can be changed until it is faced.” Ari set the tone for the evening, promising it to be uplifting and joyful and also letting us know there would be moments of sadness, of truthful pain.What I thought would be an evening of celebration through music became weighted down by current events that drove the presentation off the road and onto the berm of nationalism. It was a solemn evening of what could have been a full-blown cultural celebration of song, with a guest appearance by singer Ben Fankhauser that added spark to the evening. I came for the incredible music, and it was there, but under a blanket.Ari’s rendition of Boubil and Schonberg’s “Bring Him Home” from Les Miserables, and Brown’s “This Is Not Over Yet” from Parade were lovely to hear and I came away with a new understanding of their connection to Jewish music and culture, but it was undermined by that other voice that brought unwanted discomfort not only to myself, but to others around me as well. One member of the audience, respectfully but sternly, called out in the middle of Ari’s banter, “stop please”reminding him that the truth and importance of community, which is so integral to Jewish culture, is a human need and that there is suffering in all parts of the world, inflicted by and upon many, many peoples. Ari respectfully agreed and was very open to the shout-out. He was not stumped by it and moved on with grace to the final songs of the evening.The wonderful songs of some of our greatest composers were almost softened, but for me, they shown through on their own with an inner personal flame.Music director and arranger Mike Stapleton on piano, Nathan See on flute and clarinet, Alon Bisk on cello, Randy Landau on bass, and Barbara Merjan on drums.Ari will be performing again this Monday, October 30th at Chelsea Table + Stage. Tickets and information for that performance can be found HERECHELSEA TABLE + STAGE is located at 152 West 26th Street. Tickets are $20-$50, in addition to a service charge and a two-item food and beverage minimum. Note that there is not a bad seat in the house. The shows are all top-notch, as are the drinks and food.Readers may also enjoy our reviews of Jenn Colella: Out and Proud, Amanda McBroom at Birdland, Natalie Douglas, Vanessa Williams, and Mary Stallings at Smoke.https://youtu.be/DO6CZMGr2ek?si=qgMTGwsSxkFEDSwg