Craig Rubano: A Triumphant Return to New York Cabaret -

By Andrew Poretz***The first surprise about Craig Rubano’s new show, Take the Moment, was his astonishing reveal that this was his first concert in a decade. Although this writer was not previously familiar with Rubano, it was apparent from the moment he sang that this was a gifted, experienced performer. (His resume includes hundreds of Broadway performances in shows such as Les Miserables and The Scarlet Pimpernel.) The second surprise was learning why: the events of September 11 led him to a higher purpose, and seminary school, from which he received a doctorate. (Before his Broadway career, he was also an Ivy League scholar at Yale and Columbia.) Today, Rubano is a solo minister at the Unitarian Universalist Congregation of Monmouth County, NJ.

Fortunately, Rev. Dr. Rubano has found his way back to the stage, at least long enough to present the earthly gift of Take the Moment at the Laurie Beechman Theatre. Under the skillful direction of Jeff Harnar, Rubano regaled the brunch crowd with songs perfectly aligned with his story. He was accompanied by musical director and pianist Beth Ertz and bassist Steve Doyle, both excellent accompanists. Doyle made great use of his bow throughout the set, sometimes alternating between bow and hand in the same measure.

Rubano arrived to the stage by walking through the audience with a wireless mic (a Jeff Harnar trademark) singing an excerpt of the show’s title song, “Take the Moment” (Richard Rodgers,Stephen Sondheim). Dressed in his Sunday best, he asked the audience, “Where have you been?”, to much laughter. For his fans, this was the question they’ve been asking. Cole Porter’s “Where Have You Been?” was the appropriate opener. The star also turned to a pair of rather obscure Yale fight songs written by Cole Porter, “Bulldog” and “Bingo, That’s the Lingo.” This lighthearted bit included dog barking from both Rubano and Ertz. These tunes, as well as his take on Porter’s “Red, Hot and Blue,” showed his humor, expressiveness and exquisite timing.

Another obscure song was more of a revelation. Rubano noted, “There are two things New Yorkers hate: the way things are, and change.” On Benard Ighner’s beautiful ballad, “Everything Must Change,” Rubano’s voice was powerful and perfect, with excellent phrasing and interpretation.

One of Rubano’s best numbers was multilingual. As it happens, Rubano, though American, grew up in Argentina and speaks fluent Spanish. His backstory set up a brilliant medley of “The Impossible Dream” (Mitch Leigh,Joe Darion) with its Spanish version “El sueño imposible” (Spanish lyrics by Carlos Viniegra). The arrangement, by Christopher Marlowe and Beth Ertz, showcased Rubano’s considerable acting talents. When he sang in Spanish, he was mesmerizing, the emotional impact clear and powerful. (This is something I’ve seen the Mexican performer Mauricio Martinez achieve many times.) Rubano brought the song to a huge finish with a powerful, long high note. Another thing to appreciate about Rubano is that he does not overuse the “big finish,” which some singers feel the need to do just because they have the chops.

Taking to a stool at stage left, Rubano presented a gorgeous medley of seemingly disparate songs: first “Empty Chairs at Empty Tables” (the “The Café Song” from Les Miserables—Claude-Michel Schönberg; French lyrics: Alain Boublil, Jean-Marc Natel; English lyrics: Herbert Kretzmer). He then slid into “I’ve Heard It All Before (with Meditation II)” (Gary Geld, Peter Udell) from Shenandoah. This juxtaposition of poignancy and powerful statement was spectacular.

Among his many accomplishments, Rubano has herded goats. After such satisfying gems as “We Can Be Kind” (David Friedman) and “Ordinary Miracles” (Marvin Hamlisch, Alan and Marilyn Bergman), he performed a fun medley of “Bill Grogan’s Goat” (American Traditional) and the whimsical “Sweet Zoo” (Jeffrey D. Harris) from Barbra Streisand’s 1965 television special, complete with an audience call-and-response out of an Andy Kaufman routine.

Rubano is a marvel. A handsome fellow with great presence and a warm smile, he has the ability to deliver a song with passion, and is a master of vocal dynamics, using sotto voce to bring the listener in for the most intimate moments, or going as big as necessary for high drama. His bari-tenor voice is flawless and mellifluous. While he can reach for and sustain magnificent high notes, he never overuses this ability, saving those big finishes for when they made a difference. Rubano has a big heart and comes from a place of love and truth that makes for a very satisfying 75 minutes of cabaret.