Sharp Blade Gillett Takes Flight Over Carnelian Triumph

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The very early 1990s were indeed a mystical and exciting moment to be taking part in the wonderful world of cabaret; in a given week and at several clubs spread over varying degrees of economic climate throughout New York, one could savor Sylvia Syms, Anthony Santelmo, Eartha Kitt, Tommy Femia, Karen Akers, Melissa Newman, Charles Pierce, Karen Saunders, Wiseguys, BETTY and Spider Saloff & Ricky Ritzel. At the same time, the genre was being treated to its first major personal taste of the soon-to-be-legendary theatrical composer/lyricist Craig Carnelia.

At the time, and with then-spouse Maureen Silliman, Carnelia was packing them in weekly at Eighty Eight’s with their show Pictures in the Hall, comprised completely of his own compositions from some of the greatest cult hits of the day as Is There Life After High School? Diamonds and Working. Not long after, a new presence burst into town in the form of Eric Michael Gillett, a dynamic vocalist who, until then, was best known as the Singing Ringmaster with Ringling Bros., after a stint in Las Vegas headlining at Bal du Moulin Rouge and in Hallelujah, Hollywood at the MGM Grand, and who wasted no time in taking the city by storm once he settled upon our fair shores.

Since then, Carnelia has gone on to supreme glory when composing music and lyrics both on and Off-Broadway, and Gillett has managed not only to remain a front runner in cabaret as an entertainer and educator, but also as a director and a Broadway presence himself. It is, therefore, only fitting that the two gentlemen have come together in a most unusual and somehow completely expected full circle, with Gillett’s recent Cast of Thousands, a concert of Carnelia’s work, at Don’t Tell Mama which, one is sure, will be headed to far greater glory before long.

It is unquestionably expected that Gillett’s handling of such familiar numbers as “Old Movies,” “The Picture in the Hall,” “Flight,” “The Last Forty Years” and “Apartment 1-F” are singularly brilliant; more surprising, is what the gentleman does with a version of “Life on Earth” that proves haunting to the utmost, and an incredibly intricate working of “The Kid Inside” interspersed with “What You’d Call A Dream,” “Magellan” and “Come On, Snow!” There’s also “Joe,” providing him with a marvelous opportunity to display his acting chops and employ a Noo Yawk accent, and versions of “The Mason,” “Just a Housewife,” “Blood on the Moon” and “The Man in 37A,” that leave one speechless as to the fact that these weren’t actually written for Gillett, so definitive is the interpretation. Indeed, Carnelia’s compositions have always been described as “lacy” by many a critic, and Gillett only serves to spin that delicately-crafted lace into handiwork beyond measure.

It must also be noted without question, that musical director Jeff Cubeta has proven himself the best possible guy for the job with his handling of this show, for the result is simply spectacular.

Cast of Thousands was originally performed at Eighty Eight’s, with direction by Barry Kleinbort and Musical Direction by Christopher Denny, with its original cast album named #1 of that year by In Theater Magazine. This new production proves that while some may say, “don't fix it if it ain’t broke,” sometimes it’s not a mistake to revisit a past project and see what new juice can be squeezed from a still-golden orange. This show, and Eric Michael Gillett, provide nothing less than the entire sunshine tree, and should suitably be savored at every opportunity. It’s clear that this time around, Vitamin "C" stands for Carnelia.

Eric Michael Gillett will be at Feinstein's at Loews Regency from February 15-19, with WIDESCREEN: Songs From & About the Movies. He will return with Cast of Thousands in the spring.