Kander and Ebb Musical Revue Dazzles at Olney

Harris Milgrim, Nova Y. Patton, Kevin S. McAllister
Natascia Diaz & Karen Vincent

The songwriting duo of Kander and Ebb may not have the same name recognition in musical theatre and film as legends Rodgers and Hammerstein, Rodgers and Hart, Lerner and Loewe even Tim Rice and Elton John. But it should.

John Kander and the late Fred Ebb have collaborated on a mountain of songs—many quite familiar—that earned them numerous accolades, Tony’s and Oscars for their efforts. Spanning six decades, the team penned the music for such classic musicals as Cabaret, Chicago, Kiss of the Spiderwoman and The Scottsboro Boys to name a few. And did you know that they wrote the colossally famous song “New York, New York” for the film with the same name? Neither did I.

Fortunately, the works of Kander and Ebb are being celebrated in a scintillating revue taking place at the Olney Theatre Center in a partnership with ArtsCentic and Everyman Theatre. With a striking set, a superb orchestra and an incredibly talented company of five, 31 songs are showcased in a two-act revue that brings to life some of the Kander and Ebb fine catalogue.

The revue is titled “The World Goes ‘Round,” an updated version of the 1991 off-Broadway production “And the World Goes Round” that was originally created by Scott Ellis, Susan Stroman and David Thompson.  (On a personal level, the title is ironic given I was battling the effects of vertigo during the few days leading up to opening night. Those who have experienced this condition could relate. But enough of me. Back to the review of the revue.)

Kander and Ebb were known to be ahead of their time. While certain topics were considered off-limits, Kander and Ebb confronted dark issues like Nazism in Cabaret, for instance, and social injustice. They dealt with the marginalized in society like the incarcerated. They dealt with racism, female sexuality, queerness and gender fluidity.  But their songs do not necessarily reflect darkness. Kander and Ebb have also created snappy buoyant melodies and joyful, even humorous lyrics. The eclectic mix performed during the revue range from tuneful, emotion-packed torch songs to comical numbers.

The quintet performing these selections consists of a multi-talented and experienced troupe: Natascia Diaz (Broadway’s Man of La Mancha and the Olney Theatre/Round House production of In The Heights); Kevin S. McAllister, who also directs this revue (Broadway's Caroline...Or Change and Come From Away); Harris Milgrim (Broadway’s Cats); Nova Y. Payton (Signature Theatre’s Into the Woods and The Color Purple); and Karen Vincent (Ford’s Theatre’s Ragtime and Into the Woods).

Natascia Diaz and Harris Milgrim

The members of this group can sing up a storm; they can dance gracefully; they do comedy well; and they can “roller skate.” Well, maybe not so much the latter as they hilariously demonstrate those skills in “The Rink” from the show with the same title.

Under the direction of Mr. McAllister, who is no stranger to directing revues at Olney as he helmed the sparkling “The Most Wonderful Time of the Year” this past winter, the show is well-paced and expertly staged.  Music director and maestro Christopher Youstra with his fabulous seven-piece orchestra playing upstage throughout the show, provide the performers with superb backing and do the Kander score proud.

Each member of the company has a turn in singing solos with about half of the selections sung in combination with others or the entire company. As individuals, their vocals shine; in combination with others, they soar.

Nova Y. Payton, with her astoundingly big voice, gets the show off on a high note with her rendition of “And the World Goes ‘Round” from the film New York, New York. Another solo “Maybe This Time” from Cabaret is a showstopper. It should be noted that this ballad was not written by Kander and Ebb specifically for Cabaret but was included in the 1972 film version. It had been written in 1964 for Liza Minnelli’s debut album Liza! Liza!

As mentioned previously, director Kevin S. McAllister also performs in the troupe. Possessing a burly tenor voice, Mr. McAllister demonstrates his strong vocals in the title song from the lesser known 60’s musical The Happy Time as well as “I Don’t Remember.” His rendition of “She’s a Woman” from Kiss of the Spiderwoman is outstanding.

Karen Vincent has a lush voice and performs well throughout. Her two solos, “Colored Lights” from The Rink and “Isn’t This Better?” from Funny Lady are spot on. In a comical number “Sara Lee” that was popularized by Liza Minnelli, Ms. Vincent joins Ms. Payton and Harris Milgrim. It is a pure delight as costume designer Moyenda Kulemeka fitted the ladies in garb resembling pastries. Ms. Kulemeka did a fabulous job in outfitting the troupe in a wide variety of costumes that coincide with the applicable period.

Ms. Vincent also performs in “How Lucky Can You Get” from Funny Lady with Mr. Harris and Mr. McAllister and “There Goes The Ballgame” from New York, New York with Natascia Diaz and Ms. Payton.

Mr. Milgrim takes on many of the revue’s comedic moments and hits them out of the park. The lithe, athletic performer reminds me of a modern-day Tommy Tune. He literally shows off his fit physique in the amusing “Arthur in the Afternoon” from The Act, which is splendidly sung by Natascia Diaz.  An accomplished dancer to be sure, Mr. Milgrim has a solid tenor singing voice and can hold a note longer than an airport line.  He shines in “Sometimes a Day Goes By” from Woman of the Year, an exceptional rendition of “Mister Cellophane” from Chicago and “Marry Me” from The Rink.

Besides “Arthur in the Afternoon,” Natascia Diaz with her rich vocals performs adroitly in “A Quiet Thing” from Flora, The Red Menace. This show happened to be Kander and Ebb’s first collaboration and launched the career of Liza Minnelli who won a Tony for Best Actress in a Musical for the 1965 production. Ms. Diaz takes the lead in the outstanding dance number “And All That Jazz,” one of the highlights from Chicago and performs a beautifully performed extended dance number “When It All Comes True” with Mr. Milgrim.

There are a number of well-executed dance numbers that rev up the tempo of the revue. Choreographer Shalyce Hemby guides the company with precise and fluid movements in such songs as “Coffee In A Cardboard Cup” from 70, Girls, 70, “Me and My Baby” from Chicago, and “Money, Money” from Cabaret. “The Rink” concludes the first act with a roller skating “exhibition” from four of the five members of the company that is pure fun. Ms. Payton was wise to stay off the wheels for this one as she took on a different and safer role during the number.

Scenic Designer Daniel Ettinger allows the performers to do their thing in a gorgeous, colorful setting. The orchestra is upstage but in certain numbers, the platform moves towards the front. There are several rectangular panels on the wall that serve as screens for projections designed by Patrick W. Lord. These projections contain a wide assortment of images that coincide with a particular song. Several personalities are seen offering tributes to Kander and Ebb. They include Chita Rivera and Dame Judi Dench among others.

Lighting Designer Aja M. Jackson adds rich hues to the optics. As a great touch, strings of footlights frame the stage, the wall panels and even the platform where the orchestra is mounted to give off a cool theatre vibe. Well done!

One does not need to be familiar with all the Kander and Ebb songs to enjoy this wonderful musical experience. More likely than not, you will recognize the real popular ones and enjoy the interpretation that is applied. For example, the production number “Cabaret” has been “jazzed up” with an enjoyable result. And there’s the surprise finale “New York, New York” with a new twist.

This production is an extraordinary tribute to the team of Kander and Ebb. Outstanding performers and orchestra with stellar work from the technical crew all under the guiding hand of Kevin S. McAllister make this a don’t miss show. Life is indeed a cabaret.

Running time. Two hours and 15 minutes with an intermission

The World Goes ‘Round plays through May 21, 2023, at the Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or by visiting here.

Photos by Teresa Castracane Photography

Oh Dear, Homophobe Daniel Murphy is at it Again

Daniel Murphy adding more fuel to the fire.

I pictured newly acquired Chicago Cub Daniel Murphy standing at home plate at Wrigley Field this Sunday in front of a mic during the Out at Wrigley event.  My dream, perhaps delusion, would be that Murphy would address the crowd, Lou Gehrig-like, and walk back his homophobic comments from three years ago, which angered LGBTQ folks and allies around the nation.

Those words were stated while as a New York Met at a time when many people were tricked into thinking that homophobia was on the wane following the Supreme Court’s decision making marriage equality the law of the land.  Murphy was asked a question about Major League Baseball’s Ambassador for Inclusion, Billy Bean, a former major league baseball player who came out as gay following his career.

“I disagree with his lifestyle,” Murphy said, citing his faith. “I do disagree with the fact that Billy is a homosexual. That doesn’t mean I can’t still invest in him and get to know him. I don’t think the fact that someone is a homosexual should completely shut the door on investing in them in a relational aspect.” Since then, Murphy had become friends with Bean.

In a commentary in The Guardian on August 23, Parker Molloy, who is lesbian, wrote: “The truth is that saying you ‘disagree with the fact that [somebody] is a homosexual’ is homophobic. It’s like somebody saying ‘I disagree with your hair,’ ‘I disagree with your race,’ or ‘I disagree with your gender’. In all three examples you can say that you don’t like someone’s hair, race or gender; but it’s not exactly yours to disagree with in terms of existence. The same goes for the statement, ‘I disagree with his lifestyle’.

Molloy adds, “Being gay is no more of a ‘lifestyle’ than being straight is, and treating it as such is honestly pretty demeaning to those of us in the LGBT community. It suggests that we’re lesser, that we’re broken, that we’re wrong for being who we are. It’s hurtful, plain and simple.”

But any aspiration that Murphy, 33, would show that he evolved and perhaps backed off from those comments was dashed when he was told at a presser that Cubs fans are unhappy he joined the team because of his anti-gay stance and would not root for the team.

In a mocking tone, he said, “Oh dear. I would hope you would root for the Cubs.”

Those comments are shown below.

Daniel Murphy on his relationship with Billy Beane and LGBTQA #Cubs fans pic.twitter.com/68WivcVTSr

— Laurence Holmes (@LaurenceWHolmes) August 23, 2018

Cyd Zeigler of OUTsports, a website that discusses the intersection of sports and the LGBTQ community, opined: “'Oh dear,' he said, as he looked off dismissively into space. In other words: These gay people are just so damn overly sensitive when Christians like me say they bad things about them.”

Added Zeigler, “He went on with a I-couldn’t-care-less-what-those-gays-think answer about how gay fans should continue to cheer for the Cubs.”

After being unsigned by the Mets, Murphy was picked up by the Washington Nationals—a team which benefited from Murphy’s strong batting—and who holds annual Nights Out at the Ballpark.  Though the controversy regarding his homophobic comments did not overtly surface in the district, which has the highest percentage of LGBTQ people in the nation, and no other similar public comments were made during his tenure in D.C., some were still wary at the outset.

“We expressed our concerns to the Nats about this as well as when Yunel Escobar was traded to the team a couple of years before,” said Brent Minor, Executive Director of Team DC, the organizers of Night Out.  “During one Night OUT game, we worked with MLB to have Billy Bean come and speak to the team about diversity and inclusion.

Minor indicated that he had a conversation with Bean in which he was told that Bean spoke directly to Murphy and while acknowledging he still held deeply religious views on the topic, felt he was heard and respected.

Minor went on to tout the Nationals and their support of Team DC and the Night Out series.

“They even had the Gay Men’s Chorus of Washington ‘sing’ their holiday card that is sent to all season ticket holders a few years back.” He also saluted pitchers Max Scherzer and Sean Doolittle for their vocal support of the LGBTQ community.

According to the Chicago Sun-Times, Cubs General Manager Jed Hoyer reached out to Billy Bean prior to the trade and the Cubs was satisfied with his response.

It will be interesting to see what the fans’ reaction may be upon Murphy’s introduction during Out at Wrigley on August 26. The second such event held this year at Wrigley, and which bills itself as “The Nation’s Original MLB Gay Day,” is intended to celebrate the LGBTQ community. Wrigley Field is just outside the iconic gay “Boystown” neighborhood and the Cubs is the only MLB team with openly gay owner in Laura Ricketts.

I would suspect that many fans would back Murphy because they see the LGBTQ community in the same light. Others clearly would be angered. 

But oh dear, don’t expect him to apologize.