KLEA BLACKHURST in...
"EVERYTHING THE TRAFFIC WILL ALLOW...
The Songs and Sass of Ethel Merman"
at the Snapple Theater Center, NYC
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Ethel Merman liked to say she simply would walk on stage, plant herself, and sing. "I like to sing honest," La Merman said. And the same can be said of Klea Blackhurst. Her solo show, "Everythihg the Traffic Will Allow: The Songs and Sass of Ethel Merman," has taken up residence in the Jerry Orbach Theater (which at other times is home to "The Fantasticks") in the Snapple Theatre Center,210 West 50th Street, NYC, every Saturday at 5 p.m.
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| Klea Blackhurst in "Everything the Traffic Will Allow..." |
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| Merman appeared in no less than 13 different shows in her 40-year Broadway career, and all ran at least six months. Some, of course--like her blockbuster hits "Annie Get Your Gun" and "Gypsy"--ran for years. And Blackhurst, whose voice just naturally is a bit reminiscent of Merman's, sings at least one number from each of Merman's 13 shows. Which means you get to hear songs written especially for her by some of Broadway's most enduringly popular writers--the Gershwins, Cole Porter, Irving Berlin, and Jerry Herman.
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| Blackhurst has been a fan of Merman pretty much all of her life. Her mom--a musical-comedy performer in Salt Lake City--happened to be blessed with a naturally Merman-esque voice. While still a child, Klea fell in love with Merman's original-cast recording of "Annie Get Your Gun." And wrote her first report on Merman by third grade. (She did follow-ups in seventh and tenth grade.) She's as well-equipped to do a Merman homage as anyone working today. And I can't imagine anyone who appreciates old-style musical comedy not finding something to enjoy in this show.
You'll hear great, gutsy numbers that were written with Merman's big belt in mind, from "I Got Rhythm" (by the Gershwins) to "Riding High" (by Cole Porter, who said Merman was his favorite singer to write for), to "Everything's Coming Up Roses" (by Jule Styne and Steven Sondheim--and I don't want to spoil things for you by repeating the terrific little story Blackhurst tells about Merman and Sondheim discussing "Gypsy"). The show boasts an abundance of good songs, including: "You're the Top," "This is It," and "Sam and Delilah."
My own personal favorites in the show include "Life is Just a Bowl of Cherries," which Blackhurst--accompanying herself on ukelele for this one number--sings sweetly, simply, and with utter conviction; and "World, Take Me Back," which Merman--and only Merman--sang on Broadway in Hello, Dolly! It was one of two songs that Jerry Herman had originaly written and then cut, before the show opened, which he restored to the score when Merman assumed the role of Dolly. It's a delight--I don't know why more cabaret artists don't perform it--and Blackhurst's obvious affection for the song makes it irresistible.
Incidentally, Blackhurst could serve as a role-model for others mounting solo shows; she talks just enough (not one excess word!), and strikes an ideal balance of text and song. The patter is informative, entertaining, succinct--and it still feels spontaneous.
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| Singing "Life is Just a Bowl of Cherries" (with ukelele accompaniment) |
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Most of the audience, at the performance I attended, appeared old enough to remember Merman. And all seemed to be having a good time. (Many were lining up to get autographed copies of the cast album after the show.) I'm going to buy my parents tix to see this show; I know they'd love it. I might add, though, that the young-ish guest I brought was not familiar with Merman (nor is he a buff of this kind of music--most of the songs were brand-new to him), and yet he enjoyed the show as much as anyone else--simply caught up in Blackhurst's engaging performance. Blackhurst's enthusiasm is contagious. And she certainly can sing. (Well, that was obvious long before she put together this show, from her strong work in such musicals as "Radio Gals" and "Oil City Symphony.")
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Incidentally, I think the producers are brilliant to be presenting this show in this space. The Jerry Orbach Theater is in a prime location (with entrances both on Broadway, and right around the corner on 50th Street just west of Broadway). The theater is home to the long-running Off-Broadway hit "The Fantastics." The producers came up with the idea of having the two shows now share the same space. That should be done more often. Having two shows share a space brings a little extra revenue to the theater. And more shows can wind up being presented in good locations. Blackhurst could have presented this show in a cabaret room--she established herself as a cabaret favorite years ago. But the theater-setting gives this show a bit more prestige, and--since Merman was so very much a creature of the theater-world-- is really a better "fit" for the material than a cabaret room would be.
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The show features musical accompaniment by the Pocket Change Trio: Michael Rice (pianist, musical director, arranger), Steve Bartosik (percussionist), Ray Kilday (bassist).
It is produced by Denise Cooper and Neil Kahanovitz, at the Jerry Orbach Theater, at the Snapple Theater Center, 210 West 50th Street, just west of Broadway, in New York City. (The theater also has an entrance at 1627 Broadway.) Call 212-921-7862 for tickets.
-- Chip Deffaa
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