Oscar E Moore

If there is only one show that you can see on Broadway this season Ragtime is it.  It is a magnificent production that was first produced at the John. F. Kennedy Center for the Performing Arts and luckily and thankfully has been transferred to the Neil Simon Theatre for what should be an extremely long run.  But theatre being theatre I wouldn’t put off till tomorrow what you can do today.  And that is to buy a bunch of tickets to see one of the best musicals ever written.  You are guaranteed a great time.

I did not see the original 1998 production which supposedly was overproduced and cold and running up against The Lion King.  Despite an all star cast it floundered along -winning, however, four Tony Awards but losing out for Best Musical.   I did see a concert version at the White Plains Performing Arts Center which was terrific and then last February a very stream lined inventive and inspired version at The Astoria Performing Arts Center.

This scaled down but revved up Ragtime has everything going for it.  A tightly written book by Terrence McNally that ties together all of the themes, characters and three major story lines based on the novel by E.L. Doctorow with an economy of dialogue and a roller coaster ride of rapidly switching emotional gears.  The beautiful score by Lynn Ahrens (Lyrics) and Stephen Flaherty (Music) which ranges from the simplicity of “Our Children” to the inspirational “The Wheels of a Dream”  to the comedic “What A Game!” to the touching “Sarah Brown Eyes” to the heartbreaking “Your Daddy’s Son” to the jumping “Getting Ready Rag.  And has there ever been a better opening number written for a musical than the title song “Ragtime”?  It’s a brilliantly written, moving, melodic and entertaining score.

Marcia Milgrom Dodge has done a masterful job in keeping the musical moving along at a tidy clip with her insightful direction and exuberant choreography on the skeletal three-tiered industrial looking unit set by Derek McLane.  The incredibly varied lighting effects by Donald Holder seamlessly set the different mood swings and locations immediately.  But it is the cast that shines above all else.  What a glittering array of talented singers and actors.

As Coalhouse Walker Jr. the man who created this “new music” called ragtime, Quentin Earl Darrington is headed for stardom with his commanding presence, magnetic personality and booming voice.  His scenes with Sarah, beautifully sung by Stephanie Umoh are electrifying.  They have a wonderful loving relationship that gnaws at our hearts.

As the bigoted Father, Ron Bohmer makes a hateful man seem almost human.  Mother, a radiant Christine Noll brings to life the inner strength needed to overcome her restricted life which begins to blossoms when she meets Tateh (Robert Petkoff) the Jewish immigrant who cuts silhouettes which results in him becoming an Americanized moving picture director.  Mother’s Younger Brother, who seethes with anger and frustration until he finally explodes, is given a full bodied performance by the dynamic Bobby Steggert. The Little Boy (Christopher Cox) almost steals the show with his bright and plucky portrayal.

Other standouts are Jonathan Hammond as Harry Houdini making an unforgettable entrance, Savannah Wise as showgirl Evelyn Nesbit, Eric Jordan Young as the idealistic yet forceful Booker T. Washington, the powerful Donna Migliaccio as the rebellious Emma Goldman, Mark Aldrich as the racist fireman Willie Conklin and Dan Manning as Grandfather who gets all his laughs in the right placesGo see Ragtime immediately and revel in all its glory.

www.ragtimeonbroadway.com

Tags:   E.L. Doctorow · Lynn Ahrens · Marcia Milgrom Dodge · Stephen Flaherty · Terrance McNallyNo Comments.

You’ve seen people like them underground in the subway.  On the platform or in front of a wall.  Either begging for money or begging for attention.  Performing.  Singing and playing their guitar or keeping the beat with a makeshift drum as people pass them by.  Only if they are good enough, their performance worthy of our attention do we stop and drop a coin into their open guitar case.

But do we know their history?  Do we know how they got there?  What do they want?  Who are they really? Do we care?

In an attempt to enlighten us on these matters, Mando Alvarado has written “Post No Bills” a play with music which is scheduled to run through December 13^th at Rattlestick Playwrights Theater.  It is like plodding through a muddy gulf of self pity.  Where meaningful and beautiful music cannot be written unless you have suffered, are in pain having hit rock bottom.

These characters certainly are suffering.  There is Sal (John-Martin Green), a blind man with a wife dying of cancer.  He shares his territory in front of the “Post No Bills” wall begging while the ever scowling Esteban (Teddy Canez) plays his guitar and sings dismal songs.  He lives alone in Brooklyn.  His wife has died.  No more women for him.

They are accompanied by two guitar players off on the sidelines of the stage itself.  The music by Sandra Rubio with musician Andrew Wetzel is bad at best.  It added not much to the play itself which has its own set of predictable problems.  Back to the characters.

A seventeen year old Mexican girl from Laredo, Texas named Reyna as in Queen (an interesting Audrey Esparza who brings fire and warmth to her not very likable character) has come to New York seeking fame and fortune as a singer.  Somehow she has found Esteban (she knows his music as he was once a recording star) and wants to team up with him for better tips – even auditioning for him with her talents of tap dancing and yodeling.  With much reluctance Esteban takes her under his sullen wing.  Every once in a while they sing another dreadful Tex-Mex mess of a song.

To complicate her life even further we meet Eddie (Wade Allain-Marcus) a guitar plucking lothario.  But he’s too old for her.  He’s 28.  Esteban whom she likes is much older and doesn’t want to get involved with her although he offers her his chaotic apartment to crash in. 

Life goes on.  And on.  We see incidents involving all four.  Lots of fuck this and fuck that dialogue.  A bloody nose.  Guitar lessons.  Incidents that don’t lead up to too much including the end of the first act that just sort of peters out catching the audience off guard as it slowly fizzles to its conclusion.  There is a second act to wallow through which has been directed by Michael Ray Escamilla without much inspiration.

Who will she wind up with?  Will she become a good singer?  Will she get a gig?  Will Sal’s wife survive?  To find out you’ll have to be brave enough to sit through a performance of “Post No Bills”.  Usually Rattlestick comes up with some very fine and exciting plays.  This is not one of them.  Tickets $45.   www.rattlestick.org

Tags:   Audrey Esparza · John-Martin Green · Mando Alvarado · Teddy Canez · Wade Allain-MarcusComments Off on Post No Bills – at The Rattlestick – A Post Mortem

THE NEW YORK POPS

PAYS TRIBUTE TO JOHNNY MERCER’S 100^th

WITH ANN HAMPTON CALLAWAY

NOVEMBER 20, 2009, 8:00 PM AT CARNEGIE HALL

Ann Hampton Calloway

Conductor Steven Reineke LEADS THE NEW YORK POPS IN A

JOHNNY MERCER CENTENNIAL CONCERT

WITH ANN HAMPTON CALLAWAY, JAMES T. LANE, N’KENGE,

AND CAMP BROADWAY KIDS

N'Kenge

NEW YORK, NY – The New York Pops celebrates the centenary of the birth of lyricist and composer Johnny Mercer at Carnegie Hall on Friday, November 20 at 8:00PM. Joining Music Director Steven Reineke and the orchestra are multi-platinum selling singer and songwriter Ann Hampton Callaway, known for starring in the hit Broadway musical “SWING!”; Broadway performer James T. Lane; and actress and opera singer N’Kenge. Together with the Camp Broadway Kids they will perform treasured compositions from the vast Johnny Mercer songbook; highlights include “Dream,” “Come Rain or Come Shine,” and “Moon River”.

TICKETS

$33, $37, $46, $74, $94 and $104; Tickets are available at the Carnegie Hall Box Office, 154 West 57th Street. Tickets may also be charged to major credit cards by calling CarnegieCharge at 212-247-7800 or online by visiting www.carnegiehall.org

Tags:   Ann Hampton Callaway · James T.Lane · N'Kenge1 Comment

Hai!  Hai!  (translation) Yes! Yes!  The immensely likable “Talk Like Singing” written and directed by Koki Mitani with music by Yasuharu Konishi is a first rate entertainment imported from Japan that is original in story, concept and presentation.  It is mostly performed in English (with some scenes and songs in Japanese) so that you will absolutely be able to follow this charming fable with a Burt Bacharach inspired score.

At times, the narrator Dr. Dyson (a boundlessly talented Jay Kabira) a psychiatrist and frustrated entertainer who longs to star in Las Vegas (He has a great number “Dr. Dyson, the Perfect Psychiatrist” where he taps with Japanese wooden sandals) explains.  At times clever cue cards are used.  Or digital on screen dialogue is translated by two computer screens that try to keep up with the heated argument.  You are never at a loss as to what is happening.  And a lot is happening with fantastic sets (Yukio Horio) and elaborate inventive costumes (Hanako Kurosu) assisting.

“Talk Like Singing” is the first-ever original Japanese musical to premiere in the U.S. and will be running through November 22^nd at New York University’s Skirball Center.  If you are interested in musical theatre and are wondering how a troupe of four Japanese performers can bring to life the story of Tarlow (an exuberant Japanese Idol Shingo Katori, giving a zestful and tender performance) – a boy born with the inability to speak but with an innate love for music, song and dance enabling him to communicate with others, this is a must see event.   

It is inventive.  It is funny.  It is delightful to listen to.  It’s a little bit of this and a little bit of that.  It is a vaudeville show.  And it is a bit too long.  Running almost two hours without an intermission, with over twenty songs some cuts would make this show enormously enjoyable instead of waiting around for the next highlight to come along.  Of which there are many.

Tarlow is a taunted misfit, attempting to wend his way through life, happily singing and dancing.  Without his music he cannot live.  Dr. Dyson along with Psycholinguist Dr. Nimoy (a graceful and multi-talented Keiko Horiuchi) search to find the source of Tarlow’s “defect” so that he will be normal.  They discover the problem:  Tarlow has six musicians in his head – which literally come to life with the terrific band TRI4TH.  How they fix the problem is one of the more outlandish cartoon aspects of the production which leads to at least three false endings for the show.

Of course there is a love connection between Tarlow and Dr. Nimoy that complicates matters and a fourth character (a madcap Shinya Niiro) playing a multitude of people.  The main one being Brother who is an afro-wigged, platform-heeled disco Daddy.  All four are wonderful to watch.  The inevitable cure leaves Tarlow defeated and deflated.

In the end we are left with the moral:  It is better to leave someone alone who is different but happy.  Let him sing his songs and share his music with one and all. “Talk Like Singing” does just that.   Arigatou.  (Thank you) www.skirballcenter.nyu.edu

Tags:   Jay Kabira · Keiko Horiuchi · Koki Mitani · Shingo Katori · Shinya Niiro · Yasuharu KonishiNo Comments.

Eureka!  “The Understudy” by Theresa Rebeck which has recently opened Off-Broadway at Laura Pels Theatre and is a Roundabout production is a classic 21^st Century comedy of the first order.  Funny doesn’t get much funnier than this.

In every playbill there is this disclaimer:  Understudies never substitute for the listed players unless a specific announcement is made at the time of the performance. And when that announcement is made and the star of the show (most probably someone from Hollywood i.e. a Jude Law, Daniel Craig or Hugh Jackman) that you have paid big bucks to see is not performing you race up the aisle to get a refund.  Who wants to see the understudy?  You are furious.  Just think how the understudy feels.

Enter Theresa Rebeck with her right on target, smart observations and quick wit to the rescue to let us get a glimpse into what being an understudy entails.  Especially if you happen to be Harry a bitter actor (Justin Kirk) who despises the Hollywood star system that rewards action heroes with millions of dollars for speaking dumbed down dialogue and you haven’t worked in a while and consider yourself a fine actor and have gotten this “understudy” position through a friend of a friend.

Understudy to Hollywood star Jake (Mark-Paul Gosselaar) – whose last picture pulled in over 60 million bucks its first weekend of release who is also understudying the other major starring role (the unseen Bruce) who gets paid even more in a Broadway production of a lost and recently discovered existentialist Kafka masterpiece which ends with a dance.

And so the ever cool and calm stage manager, Roxanne (Julie White) has the job of rehearsing these two at odds with each other actors with a stoned out of her mind Laura (also unseen) in the booth who keeps getting the change of set, sound and light cues wrong.  To top it off, Harry left Roxanne six years ago and she hasn’t laid eyes on him since until this fateful day of rehearsal.  It is then that she begins to be rattled and unravels before our eyes.

And Julie White does unravel.  Hysterically so.  She is a comic genius.  She also shows a wonderful vulnerability and sensibility as the actress turned stage manager who was once spurned by the understudy that she has to now put into the show. 

She is aided wonderfully by Justin Kirk who is quirky, questioning and yes bitter who begins to bond with the star as they find new dimensions in the Kafka script.  Mr. Gosselaar plays up his celebrity and does an excellent job in being passionate about Kafka that you just begin to think there is something to this ridiculous play within a play.  You have to see it to believe it’s so amusing.  And in the end, touching.

Director Scott Ellis has done a great job in making all three actors hit their marks, getting them to delve beneath the surface satire and making this backstage story so fulfilling.

“The Understudy” has been extended through January 17^th 2010. 

www.roundabouttheatre.org

Tags:   Julie White · Justin Kirk · Mark-Paul Gosselaar · Scott Ellis · Theresa RebeckNo Comments.

The Actors Company Theatre has unearthed another old chestnut of a play – “The Late Christopher Bean” written by Sidney Howard – based on the French “Prenez Garde a la Peinture” by Rene Fauchois – not seen in New York since it was first produced in 1932 and has given it a loving and glowing revival that will continue its run through December 5^th at the Beckett Theatre on Theatre Row.  It’s a perfect fit for this excellent company of actors and guest artists “dedicated to presenting neglected or rarely produced plays of literary merit.”

Targeting greed and the art world, “The Late Christopher Bean” takes its time setting up its characters and laying down the foundation that is fully and comically exploited in this three act play performed in two.  Nicely directed by Jenn Thompson the transition that takes place in the Haggett household, particularly that of Dr. Haggett (a wonderful James Murtaugh) once they learn that they are in possession of some extremely valuable paintings that their tenant of ten years ago, the drunken and ill Mr. Bean created is priceless.

The practical and peaceful country doctor, Dr. Haggett is simply trying to collect from his patients and tightening the purse strings at home which his wife (Cynthia Darlow) is distressed over as well as their spoiled younger daughter Ada (Kate Middleton) when he receives a mysterious telegram from a Maxwell Davenport seeking a meeting to discuss Mr. Bean.  Ada’s older sister Susan (Jessiee Datino) and Warren (Hunter Canning) – a house painter and paper hanger with aspirations of being an artist – he apprenticed under Mr. Bean learning his modern art techniques plan to elope.  Abby (Mary Bacon) their maid of 15 years is leaving to take care of her brother and his four children after the death of his wife. 

It is not until two Mr. Davenports arrive that things start to bubble forth with great fun.  The first turns out to be an art forger who is a conniver and a con (Greg McFadden as Tallant posing as Davenport (James Prendergast) the art critic.  Then there is Rosen (Bob Ari) another critic come in for the kill.  Everyone’s after the lost paintings of the late Christopher Bean.

There are many complications and surprising twists and turns in the plot that eventually ends in a not quite so unexpected way.  But it’s great fun getting there.  Once the Haggett family learns the prices that the paintings (that they really thought horrid relegating them to the barn) can bring they become as greedy as the New Yorkers who have come to swindle them.   

It is only Abby, the maid, who really liked Mr. Bean and took comfort in his teaching her  about art and color who stays true to herself and the artist who painted her portrait that she wants to take along with her when she leaves.  Mary Bacon gives a delightful performance that has love written all over it.  She is funny, humble and able to rise to the occasion, divulging her secret that changes everything.

TACT has produced another winner with an excellent ensemble cast that brings truth and comedy to the forefront.  www.tactnyc.org

Tags:   Bob Ari · Cynthia Darlow · Greg McFadden · Hunter Canning · James Murtaugh · James Prendergast · Jenn Thompson · Jessiee Datino · Kate Middleton · Mary BaconNo Comments.

In this sprawling, unfocused anti Vietnam War, why does God allow such things if God exists at all play written by James L. Larocca and directed by Donya K. Washington there are far more characters than needed to flesh out the story that takes place in 1968-9 in Southeast Asia and California.  In fact, two actors act merely as props as they say not a word.  A third character is unnecessary and adds little to the story.

The story being the relationship between disillusioned patient Tim Riordan (Scott Raker) who has slit his wrists for unknown reasons and is recovering in California under the guidance of therapist Dr. Leona Kaufman (Jacqueline Gregg) who is trying to discover those unknown reasons and his relationship with fellow fighter Richard “Luke” DeLuca (Peter Sabri) who he meets while on a break from the war in Penang where they spend five eventful days together sightseeing (with guide Jimmy Chen – Kurt Uy), partying and getting to know each other in more ways than either one of them ever bargained for.

It is the unlocking of Tim’s memory by the use of Hypnotherapy that we discover what happened to the budding relationship between Tim and Luke (who feels guilty that he is simply the Rec Officer in charge of making men feel better about fighting) and the repercussions that resulted in Tim’s attempted suicide.

It is stressed over and over again that for those at war friendship is the most important thing between two men.  That they are there for each other.  To take care of each other.  Also that war is a waste for both sides involved.  And that if you survive be thankful to God but if you happen to be wounded or worse do not blame him.  Nothing new or original here.  It’s all been said before.

Scott Raker as Tim spends most of the time looking shell shocked and we feel little compassion for him.  Peter Sabri brings some humor to his role but is off putting, bringing to mind Jerry Lewis in a serious part.  The essential attraction to each other is absent and so we do not get the camaraderie between the two that leads to the tragic ending.

Chris LaPanta is Lt. Jake Wyman, Tim’s likable commanding officer.  He does a fine job.  He is natural and we believe him and in him.  With a little more volume he might just be the best in the production.

An imposing Jeffrey Evan Thomas in a brief appearance in Act II gets to play the “killing machine” roommate of Luke who appears raping a young girl who is one of the silent actors (Andrea Chen).

There is a lot of other stuff going on with a Buddhist Monk (Ray Chao) and a smarmy Hindi Mystic (Rushi Kota).  And water which makes the stage dangerously slippery.  I only wish the play had not tried to do so much and was more centered on the story of Tim and Luke and his Doctor.  That would have been compelling theatre.

Through Nov. 22^nd at Workshop Mainstage Theater 312 West 36 St 4^th floor.  Tickets $18.00  Advisory:  Penang bares it all.

www.boo-arts.com

Tags:   Boo-Arts Productions · Madison Street Productions1 Comment

Nathan Louis Jackson is making his New York debut as playwright of “BROKE-OLOGY” now running through November 22^nd at the Mitzi E. Newhouse Theatre at Lincoln Center.  Mr. Jackson is a recent graduate of the Juilliard School’s Playwriting program and BROKE-OLOGY was originally produced last summer at the Williamstown Theatre Festival.  What an auspicious beginning for such a talented writer.  Make sure to see this powerful and poignant production.

BROKE-OLOGY is an unsettling, humorous, theatrical and heart wrenching story of the King family which will have you thinking about them long after you have left the theatre.  And the sadness that permeates their lives.

The sadness of being stuck in a life that isn’t what they dreamed of.  Stuck because they are poor black people in Kansas City 1982.  Poor but dealing with their problems and happy despite everything bad that happens. There is the sadness about losing a spouse, aging, sickness and the sadness about having to make difficult choices.  Universal concerns.

We start with a pregnant Sonia (Crystal A. Dickinson) dancing around her crowded but clean home painting tee shirts that she can’t afford to buy and preparing a meal for her husband William (Wendell Pierce).  They are in love and looking forward to a large family and a wonderful future.

With great lighting design by Jason Lyons we segue into the present.  Their two children are grown.  Ennis (a compelling Francois Battiste), a restaurant worker with a baby on the way has all the answers – he thinks.  And he has come up with the science of dealing with being broke and surviving it.  Hence the title of the play.  His younger brother Malcolm (Alano Miller) has returned to Kansas City from Connecticut having received his Masters Degree to visit his ailing father who is now suffering from Multiple Sclerosis.  Their mother passed on years ago from cancer but returns in the mind of her husband in some tender and beautifully realized scenes.

It is Malcolm’s decision to stay or return to his new life that propels this disturbing story.  The actors are all outstanding as they grapple with their emotions in a natural and honest way with splashes of humor thrown in.  Of course the brothers are at odds – with William thinking Malcolm selfish if he leaves him to deal with his progressively deteriorating dad, his nagging wife, his new son and the garden gnome that hey have kidnapped from a neighbor’s garden while going on a pirate expedition.  They may have grown up problems but they still act like kids when all together – especially over a game of dominoes.

Wendell Pierce gives a heartbreaking performance as a man struggling with his health, not being able to do what once was easy, dropping things, going blind, dealing with excruciating pain and then coming to a conclusion that will leave his sons free to follow their dreams and you in tears.  The entire production is skillfully enhanced by the direction of Thomas Kail.  www.lct.org

Tags:   Alano Miller · Crystal A. Dickinson · Francois Battiste · Nathan Louis Jackson · Thomas Kail · Wendell PierceNo Comments.

All the ingredients are there in “Love, Linda – the life of Mrs. Cole Porter” by jazz vocalist Stevie Holland and Gary William Friedman which is enjoying a four week run at the Triad Theater through November 21^st. 

The songs of Cole Porter, an intimate setting, the requisite martini glass, an interesting concept and a wonderful back up combo of drums (Jeff Davis) bass (Peter Brendler) and piano (Landon Knoblock) supporting the perfectly engaging vocals of Ms. Holland.

However, the songs of Cole Porter should be slowly savored like a chilled (stirred not shaken) slowly sipped martini with a twist – the twist being supplied by the witty and fun and sometimes double entendre lyrics that accompany Cole Porter’s memorable melodies.  In this one woman, one hour, one sided biographical musical we get a rapid, superficial, speed dial version of their 35 years together – despite his being homosexual.

As long as he was discreet she would accept his dalliances.  But when he fell in love with a Russian dancer that was too much.  Even so, we gaily skip on to the next chapter (song) in their hectic, café society and star filled lives.   “Let’s Do It”, “In The Still Of The Night”, “You Do Something to Me” and “Let’s Be Buddies” – which takes on a whole new meaning here.

From their first meeting in Paris, their marriage, coming to New York, Broadway, shows, Hollywood musicals, her illness, his crippling accident – all this in one hour and a two drink minimum that has the staff of the Triad on their toes to fill orders so that they can unfortunately distribute the checks during her finale most moving number – “When A Woman’s In Love”.

Stevie Holland does quite nicely with her jazz infused arrangements by Mr. Friedman in this cabaret show directed by Ben West.  We are teased by these truncated versions of some of the most wonderful songs ever written – the songs that apply to their supposed happy life together – and long for some full length renditions not a crash course in Cole and Linda 101.

You almost want to shout out (to paraphrase Simon and Garfunkel), “Slow down, you move too fast, you got to make the moments last.”

At $35.00 a head plus a two not inexpensive drink minimum plus an 18% gratuity included “Love, Linda – the Life of Mrs. Cole Porter” is a costly hours worth of entertainment.  Through November 21^st.

www.lovelindathemusical.com

Tags:   Ben West · Cole Porter · Gary William Friedman · Stevie HollandNo Comments.

GooGoo Clusters anyone?  All you have to do to get one of these tasty marshmallow, caramel, roasted peanut combos covered in milk chocolate candies is to correctly answer some trivia questions about the classic 1975 Robert Altman film NASHVILLE at the Metropolitan Room the first Sunday of each month at 7pm.

No, they aren’t showing the movie.  Daryl Glenn & Jo Lynn Burks, a dynamic duo to be remembered with backup vocals by Tanya Holt & Brad Wills and a six piece country western band (Ivan Bodley/bass, Jo Lynn Burks/piano, Chris Delis/guitar, Dan Gross/drums, Kenny Kosek/fiddle, John Widgren/pedal steel) are performing the songs from the film in their  2009 Bistro, MAC and Nightlife Awarding winning cabaret show with a decidedly Grand Ole Opry influence.  Jay Rogers was guest artist lending his considerable talent.

“Nashville” is a complete hoot!  Charming.  Infectious.  And oh so entertaining.  Great singing and a real down home country party atmosphere that has been given great pace and a depth of feeling usually absent in such shows by director Vince Degeorge.

The exuberant and personable Daryl Glenn delivers “It Don’t Worry Me” with a fine voice and with a naturalness that seems to say, “Come and give me a big hug.”  It is obvious that he loves the music and its message.  Pianist and musical arranger Jo Lynn Burks is another natural with a winning smile and a terrific voice who is just as beautiful to look at as she is to listen to.  She seems to say, “I’ve been there and back and I know what I’m talking about.  And I love what I’m doing.”  She also plays a mean piano.  Alone or together they are simply great.

“I’m Easy” by Keith Carradine which won an Academy Award, “Memphis”, “My Idaho Home” and their fantastic duet “Tapedeck In His Tractor” are but a few of the incredible songs from the NASHVILLE soundtrack album recreated so lovingly at the Metropolitan Room by Daryl and Jo Lynn.

They will get your toes a tapping and your heart beat a racing with their engaging and disarming renditions and delightful cabaret show.  It’s no wonder that they are the Triple Crown Cabaret winners for 2009.  Upcoming shows:  Dec 6^th, Jan 3^rd, Feb 7^th.

www.metropolitanroom.com    www.darylglenn.com

NOTE:  Daryl Glenn will be appearing for one night only Sunday January 17^th, 2010 – 8:30pm at Feinsteins at Lowes Regency Hotel – Daryl Sings Steve – (Songs by Sondheim).

Tags:   Daryl Glenn · Jo Lynn BurksNo Comments.