Everyday People is NO Everyday Cabaret Revue!

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                     The art of the musical revue, whether comprising original compositions, the Great American Songbook or contemporary selections, has been a backbone of cabaret since long before the renaissance of the art form in the mid-1980s in New York.

Indeed, many a show borne in the community has gone on to overwhelming mainstream success, be it Dan Goggin's Nunsense (which began at the Duplex as The Nunsense Story), Gerard Alessandrini's Forbidden Broadway (which came to prominence at the West 72nd Street club once known as Palsson's) or Matlby & Shire's Closer Than Ever (which was launched at Eighty Eights under the name Next Time Now).

Going back further, an evident example was Jacques Brel is Alive and Well and Living in Paris at the Village Gate, and more recently A History of White Music in America. The latest and most certainly one-of-the-greatest of these is the contemporary jukebox revue Everyday People: 100% of the Voices, which has concluded it's regrettably-short run at the Laurie Beechman Theatre, but is destined beyond question for a return in the very near future; this is an evening so electric, so exquisitely-produced and developed, that it has no choice but to make it in sheer spite of itself.

Its premise is self-described as, "Four of New York City's powerhouse vocalists share the stage in contemplation of our ever-evolving American Dream and its relevance on our small planet." And of course, in our modern age of the Occupy movements and political division, this couldn't possibly be more timely. But from an artistic standpoint, this show is so much more. Relying on material that ranges from Pink Martini to Sly & the Family Stone, from Scissor Sisters to the Rolling Stones, and indeed to one of the single finest renditions ever of Shawn Colvin's "Cry Like an Angel," besides a very healthy smattering of Peter Gabriel, Dream Academy, Gwen Stefani and Randy Newman among others, it is simply impossible not to feel enthused from the very first few notes of this spectacular quartet, phenomenal musical director and the band. And, it's all set in front of brilliant film clips that make this feel almost like one is at a much-worshiped Laurie Anderson concert. This is a show that, once seen by the spectator, will want to be witnessed over and over. And if and when it is recorded, as it should be, will require multiple purchases to replace worn-out copies of the disc after multiple listenings.

Our four singers herein are Dawn Derow, Jason Reiff, Cedric Leiba, Jr. and (and this is not to take anything away from her fellow three castmates, for all are sublime and superb) the stellar Mickie Henderson, who grabs the audience to a man with her rendition of "Sympathy for the Devil" within the first few minutes of the show. But each has more than one standout moment. Derow and Reiff on Cat Stevens's "Changes IV" (with Henderson on percussion) couldn't be more flawless; likewise a solo by Leiba on "El Cantante" by Hector Lavoe. And they are equally sensational on group numbers, not the least of which is "Bring on the Wonders" by Susan Enan, with such otherworldly group harmonies as to make one wonder if they might not be a brand-new incarnation of Mamas & Papas. Singling out any further examples would be simply unfair; this show and this group have got it but good, and deserve to be seen and savored without your humble reviewer spoiling any surprises.

In addition, musical director for the evening is the sparkling Andrew David Sotomayor, who has already delighted audiences lo these many seasons in copious appearances around New York and elsewhere, and besides given the chance to blessedly show off his gifts as a musician's musician, is given an equal opportunity to shine when singing lead on "Down to Earth" by Peter Gabriel. Rounding out the band is Ted Stafford on guitar, Kai Ando on bass, and the couldn't be-more-marvelous percussion of Donna Kelly.

A show like Everyday People: Voices for the 100% only comes along in cabaret once in a very blue moon. When it returns, run. Don't walk. This reporter will meet you there and be right beside you cheering for the triumph of its greatness.