7/23/2023 0 Comments Fanny tunesmithWithout such supports, even more so than the other strong performers, Lillias White gives us a cabaret, sell-a-song, lifetime in a chorus, capture your heart and your mind kind of performance that is, indeed, gasp-worthy. A book revue would bind together the song moments and bolster the clear talent each performer has in this ensemble. And then, in solo moments such as âThe Oldest Professionâ and in partnership with Stritch on âLittle Meâ, Lillias White simply transcends, supersedes, overwhelms the other talent on the stage. Rachel York and Sally Mayes duet stunningly on âWhat You Donât Know About Womenâ and add Lillias White to perform a blow-the-roof-off-the-joint trio version of âYou Can Always Count on Meâ - both tunes from City of Angels. Singing, dancing, movement, charm in abundance on the little stage. The powerhouse trio of women anchors this production, fronts the image selected above for this review, and provides individual and solo moments to rock your musical-loving soul. Burnham in particular finds something new and delightful with his spin on âIâve Got Your Numberâ. The other singing men are not for me the strong points of this ensemble ( Howard McGillin and David Burnham), though each has his moments with a tune or two. This task is left to the individual performers to craft a world in which to experience the tunes, and they meet the challenge with varying degrees of success.Ä«andleader piano man Billy Stritch is positioned at a slightly submerged piano (it makes sense in the small performance space - and all the better for easing onto for the singers from time to time) to charm us, support the other performers, and occasionally croon himself, to great effect. We arenât told from which shows tunes are drawn to introduce a concept, to set a scene. Colemanâs name is not even mentioned - there is in fact no narrative throughline, no patter, no introduction of tunes - we have our outsized playbills for the bare facts of song titles and lyricists and performers. Music stands and instruments await their players as the audience files in - string bass, drum set, trombone, saxophones tell us immediately that there will be some brass swinging this evening. On stage: piano, three large red blooms in a vase (later put to dramatic use). To this end, Theatre A at 59E59 has been decked out as a club by set designer Douglas Schmidt and lighting designer Michael Gilliam. We have all been called together to honor the musical legacy of Broadway legend, wondrous tune smith Cy Coleman. Cinematography Raphael Pacheco Film Editor Eugenio Alabiso Original Music Ennio Morricone Art Direction and sets Carlo Simi Written by Sergio Donati, Sergio Sollima Produced by Arturo González, Alberto Grimaldi
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