By Ciara LaVelle
By George Martinez
By Kat Bein
By Ciara LaVelle
By Travis Cohen
By Carlos Suarez De Jesus
By Monica McGivern
By Travis Cohen
Beware of backhanded compliments. If you heed the critics and the advance press, you might have heard that the Stage Door Theatre's Our Sinatra, the long-running musical imported from New York, is a stylish cabaret revue. This is true and that's good, and it's also not so good. Our Sinatra is a cabaret act all right, with two singers, one singer-pianist, and a bassist knocking out some great tunes. If you had a small table with a close friend and a couple of martinis, the entire show would be most enjoyable. But you won't find a cabaret or much juice of any kind at the Stage Door's 26th Street Theatre, just a rather tired little show in a cheerless, threadbare theater setting. Patrons seeking a quick sip of nostalgia may wet their whistle here, but those seeking a shot of theater will come up dry.
This kind of musical programming has long been an off-Broadway mainstay: Get some singers, get the smallest combo possible, and string together a series of classic tunes under some organizing principle. That principle is usually the work of one composer or team. Such shows regularly turn up on area stages -- in the past few months we have seen Smokey Joe's Café (Leiber & Stoller) at the Actor's Playhouse, The Soul of Gershwin at the Coconut Grove Playhouse, and Rodgers & Hart: A Musical Celebration, which the Stage Door is presenting at its other location. These shows are only barely in the realm of theater, being essentially musical acts with a bit of connective dialogue. It's a low-risk, high-return play that fills the seats.
Our Sinatra takes this formula one step further. Instead of centering on the works of a composer, this show takes the songs associated with a performer. But then again, not just any performer: more of a cultural icon. Sinatra began as just another Italian-American crooner but ended up embodying an entire generation: His tough-guy charm, his romantic imbroglios, his career ups and downs seemed to reflect on a grand scale what many a guy in the Fifties experienced or hoped to experience in his own life. Sinatra's song selection tended to mirror his own saga. In the Forties and Fifties, he chose tunes about sex and romance -- the joys of getting and the frustrations of not. In the Sixties and Seventies he turned to songs of loss, of pride, of enduring.
This show features a staggering song list starting with "The Song Is You" from 1932 and running the gamut to "My Way" (1967), though the latter is given very short shrift here and Sinatra's other late hit, "Strangers in the Night," isn't sung at all except as part of a quick joke. Along this musical path the show unearths some rarely heard tunes from Frank's work in MGM movie musicals and points out his remarkable song-picking ability in an era of very good songwriting indeed. Very little of Sinatra's personal history finds its way into the between-song patter. The focus, as the show points out repeatedly, is on "the man and his music."
The idea works sometimes and sometimes not. Because while the show is certainly about the man, it's not, at basis, about his music. When singer Adam James croons Sinatra tunes, his replication of Sinatra's phrasing, vocal placement, and gestures is remarkably accurate. Maybe too accurate -- James's own personality doesn't come through and after a few numbers, the marvel of his faux-Frank act wears off. It's more of an impersonation than a tribute.
On the opposite end of the scale is Laurie Wells, who simply sings in her own style: Her emotional rendition of "I'm A Fool To Want You" (the only tune in the program that Sinatra had a hand in writing) is particularly well delivered. Wells's more personal style has appeal from a performance standpoint -- it's more natural and accessible. But when a singer delivers a standard in a non-Sinatra way, where's "our" Sinatra and why do we need the guy? Sure Sinatra sang such standards as "Fly Me to the Moon" and "They Can't Take That Away From Me" and "Night & Day," but so did Ella and Sarah, among many many others, and those two ladies swung them way better than Frank ever did.
This central premise aside, Our Sinatra comes across as rather tired, a situation that may just be the result of a long run. There's little chemistry between James and Wells and they don't seem to be enjoying themselves very much. James's stage spiel sounds particularly stiff and rehearsed, even when he's describing his real-life first encounter with Sinatra's music. Fortunately pianist/singer Wayne Hosford helps ground the show to a good extent with some fluid, expressive piano and a jaunty singing style. He does seem to be having some fun up there and when he says so, you can believe him.
As might be expected, the audience for Our Sinatra is decidedly a senior one and, as is sometimes the case with senior audiences, many in the crowd seemed to have trouble repressing their desire to chat. Several conversations around me centered on a sudden memory about Sinatra set off by one tune or another. These impromptu recollections were shushed by others in the audience, but I kept wondering whether this impulse wasn't truer than the show they were watching. What if the singers opened up the show to include the audience's stories instead of just their own stagy bios? Who knows what Sinatra stories these old-timers could tell? After all, what's left of Sinatra's career lies not in a cabaret act, but in the memory of these people who listened to him, saw him, maybe even had a cabaret drink with him. It's Their Sinatra, after all.