Last night Trish and I were fortunate enough to catch the William Finn revue, Make Me A Song. Unfortunately for you, it’s just posted its closing notice for December 30th. I highly recommend catching this entertaining and insightful retrospective of one of musical theater’s under appreciated composers/lyricists. I can understand if Mr. Finn’s music is not to everyone’s taste. His musical style is generally intimate and avoids the bombast of the “popera” genre and pseudo-rock that now passes for legit theater music. Unlike many current musical theater composer/lyricists, Mr. Finn writes songs that are situation specific, not just generic anthems or power ballads with empty sentiment and generalized lyrics. Thus, a simple road trip song (“Hitchhiking Across America”) becomes an ode to missed opportunity, and what could have been just another sentimental love song (“Unlikely Lovers”) instead illuminates the love/hate dynamic of a rocky long-term relationship. Lucky for the audience, this specificity lends itself to an even deeper connection to the performers - we feel like they are our best friends, divulging intimate personal details over drinks at a local bar. Hell, I got teary-eyed three or four times during the show’s short ninety minutes. But then again I’m a total pussy - although not as big a pussy as the gay boy sitting next to me who was bawling in mere anticipation of the tearful moments, i.e. continually looking to his companion, furrowing his eyebrows and forcing tears at least a stanza before the moment would actual occur! Get over it Mary, we all (meaning the gay musical theater cognoscenti) have every word of Falsettos memorized, too, we just don’t need to throw it up in everyone’s face. This is perhaps my number one audience pet peeve, somehow telegraphing to others around you - whether by singing along, exaggerated and/or early reaction - to show off how much smarter you are than the rest of the ignorant masses. I’m sure in my youth I was guilty of such theater snobbery, but I hope I’ve since grown out of these urges, or at least learned to suppress them - but enough ranting.The four performers, Sandy Binion, D.B. Bonds, Adam Heller, Sally Wilfert and pianist Darren R. Cohen, are truly singing-actors. Call me old school, but I would much prefer a well acted, emotionally grounded interpretation to a string of kick-ass belted high-E’s backed by a vacant stare. What a pleasure to be treated to it all, minus the vacant stare. The evening’s surprise was D.B. Bonds whose voice the entire evening was like buttah’ and then out of nowhere starts riffing like a big black women on the “Fishing with My Dad” song. And on top of that he’s also tall and handsome. Damn you D.B.! Props as well to Mr. Heller for proving that being a character actor and having a beautiful voice are not mutually exclusive. His gorgeous head voice in “Unlikely Lovers” and almost operatic high notes on “Republican” were highlights. And lest you think I’ve forgotten the ladies, Ms. Wilfert’s rendition of “Anytime (I Am There)” left not a dry eye in the house. And Ms. Binion, whose lower range far exceeds most men’s voices, possessed a control and consistency over her powerful belt that the current generation of pop screamers should take note of and emulate.
Cast (clockwise from top left): D.B. Bonds, Sally Wilfert, Adam Heller and Sandy Binion
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