By this 16th year of the excellent, Town Hall-presented Broadway by the Year series I tend to approach a new show wondering who of the assembled stars will lift a song above and beyond. There are always several and the survey (June 20, 2016) of the 1970s, created, written, directed and wittily hosted by the erudite Scott Siegel, yielded such special accomplishments.
The always reliable Maxine Linehan was a stunner. When she poured her heart and soul and terrific voice into “I Don’t Know How To Love Him” from “Jesus Christ, Superstar,” the effect was electric. When she sang, among other numbers, “Don’t Cry for Me Argentina,” the result was so powerful that I could picture her playing Evita in a future revival.
The evening was also distinguished by the impressive Farah Alvin. She especially captivated us with “I Still Believe in Love” from “They’re Playing Our Song,” “Gethsemane” from “Jesus Christ Superstar” and, without a mike, “Tomorrow” from “Annie.” I always feel that I never want to hear “Tomorrow” again because it has been sung on so many yesterdays, but with Alvin’s interpretation it was enjoyably fresh. I feel the same way about the much-performed “Send in the Clowns” from “A Little Night Music,” but I appreciated the moving rendition by Rachel Bay Jones.
Among the men, it is always good to have song and dance man Noah Racey back, and he charmed singing “I Can’t Give You Anything But Love, Baby” from “Ain’t Misbehavin,” spicing it with his tap dancing that included a dazzling spin. From that same musical, Carlton Terrence Taylor was brightly amusing with the funny harangue “Your Feet’s Too Big,” the lyrics often aimed from the edge of the stage at audience members.
The very talented Robert Creighton, currently noted for his dynamic portrayal of James Cagney in “Cagney,” effectively reversed the cocky Cagney tone to become the perpetually disregarded “Mr. Cellophane,” from “Chicago,” then dispensed self-assertive power toward the climax. He also teamed with the excellent Jeremy Benton in a vaudevillian-like interpretation of “You’re Never Fully Dressed Without a Smile” from “Annie.”
One of the hit shows of the 1970s was “Grease,” and Morgan Weed was at her best signing “There Are Worse Things I Could Do” from that durable show and also shone with “Time Heals Everything” from “Mack and Mabel.” Kerry Butler scored strongest among her numbers with “Home” from “The Wiz.” There were other striking musicals from the decade. I would have liked to have seen a number from “Follies.” But it is impossible to include everything. The legendary “A Chorus Line” did get represented in a strong finale, with Maxine Linehan leading the company in singing “What I Did For Love.”
Ross Patterson, who has been a major force with the series from the begining, again served as music director and, at the piano, leader of the band that included Tom Hubbard on bass and Jared Schonig on drums. Rick Hinkson served as the show’s assistant director, with Joe Burke and Holly Cruz as production assistants. At TheTown Hall, 123 West 43rd Street. Phone: 212-840-2824. Reviewed June 21, 2016.