By Marilyn Lester***In the lingo of the day when Tony Award and Pulitzer Prize- winning lyricist and composer, Sheldon Harnick, was starting out, one might say that Jennifer Roberts is one smart cookie—first in recognizing Harnick as a master and genius of lyric, and second in choosing to fiercely champion the man and his legacy. In her show Jennifer Roberts: She Loves Sheldon! the singer-actress’ careful planning to mark his centenary-plus-one, paid off. The 101st Harnick birthday had to be celebrated on THE day and music director Tedd Firth had to be at the 
piano. And how deep is her love? Who else would name a dear pussycat Sheldon, or his little brother, Jerry (for Bock).
Harnick is best known for the hit Broadway musicals he wrote with long-time composing partner, Bock: Fiddler on the Roof, She Loves Me! Fiorello!, Tenderloin, among others, but at the beginning of his career he also wrote many novelty songs for revues and Off Broadway outings. One of these was “The Ballad of the Shape of Things,” written for comedienne Charlotte Rae in 1956 for The Littlest Revue. Another was “Garbage,” for Ben Bagley’s 1955 Shoestring Revue. Roberts delivered both tunes with sly wit, as they were intended.
She Loves Sheldon! was well-balanced between narrative and song. We learned of a very young Jennifer becoming entranced with music and theater at an early age; and so determined was she to soak up “all of it!” that her vision became reality. From a child’s point of view she sang the ultimate song of self-discovery, The Apple Tree‘s “Gorgeous.” And then it came to pass that Roberts discovered Harnick. She loves Sheldon, but the question became, as she offered, from She Loves Me!, “Will He Like Me?” The answer was a resounding yes. How could he not? Roberts is instantly likeable—charming and joyous in addition to her talent as an interpreter of 
lyric with the blessing of a beautiful Broadway-style lyric soprano.
At the top of the set, Roberts read the first letter she wrote Harnick, which started a decades-long correspondence. Touchingly, near the end of the show, she read his response. And of course, the two did meet! Along the course of this sweet relationship, Roberts received three special pieces of music from Harnick—songs that were either never in print or out of print. She also plumbed the depths of his catalog, which included many cut songs, especially from Fiddler on the Roof. Her bible became the Sheldon Harnick: Hidden Treasures 1949-2013 album. One of Robert’s staples in her Harnick repertoire is “Someone’s Been Sending Me Flowers” (music by David Baker) from Shoestring Revue; she nailed the twist ending beautifully—representative of her affinity for the Harnick songbook.
In 1970, Harnick wrote his last musical with 
Bock: The Rothschilds. It was reworked in 2015, five years after Bock’s death. Harnick and book writer Sherman Yellen revised the work as Rothschild & Sons, restructuring the book as a one-act and reinstating cut songs. Resident in both versions is the beautiful and anthemic “In My Own Lifetime,” sung by patriarch Mayer Rothschild. Roberts’ stirring rendition stood sturdy as a universal declaration of accomplishment.
Ultimately, the take-away from this incisive tribute, through a focused, deep-dive into the work, is how much of a genius Harnick was. In the pantheon of lyricist gods, Sheldon Harnick rules, and it’s a legacy Roberts is committed to–for which we say, “we’ll raise a glass… l’chaim!”
Another genius was on hand to share the Sheldon love: musical director-pianist Tedd Firth, who continues to astonish with his artistry and virtuosity of playing and arranging. Also providing musical support was bassist Steve Doyle, whose beautiful arco playing added depth to many of the tunes. Fine direction was by the no-relation Lance Roberts.
