By Marilyn Lester***Actress-commedienne-vocalist extraordinaire Klea Blackhurst is certifiably “one of the girls”—Jerry Herman’s girls, that is. Blackhurst earned the title playing Dolly Levi at Goodspeed Opera House during the 50th anniversary run of Hello, Dolly!—the musical that put Herman on the Broadway map. In her recent three-show run at Birdland Theater, with an extraordinary One of the Girls: the Words and Music of Jerry Herman, she left no doubt that Herman’s work is in very good hands, indeed.
Blackhurst is no stranger to Herman’s work. She was a teenage Mame in a high school production of the eponymous musical in her hometown of Salt Lake City, Utah. The budding thespian was captured by Herman’s melodies and lyric way back then. Fast forward a few decades and now, along with soul brother, Lee Roy Reams (who was in the audience), she is one of the premiere interpreters of Herman’s work today.
It’s no wonder then, between her opening number, “One of the Girls” to her closing encore of “It’s Today” (Mame), Blackhurst gave one of the most stirring shows of her already much-lauded career. As always, her narrative was intelligent and well balanced with musical numbers, but the frosting on the proverbial cake was the maturity of performance that she brought to the table. Up a skyrocketing notch was Blackhurst’s capacity for nuance, both in the delivery of her text and in vocal control.
The latter is no small item. Blackhurst has a big, power voice, with the kind of energy that cannot be denied and must be expressed. Think Ethel Merman. And, indeed, earlier in her career she has paid tribute to this icon of the stage. Being Mermanesque allowed her to vocalize at full tilt. Blackhurst has always been able to master dynamics and modulate her belt, 
but with One of the Girls she exceeded that ability, using her natural vocal strength to channel intensity into quieter moments. This capacity was most evident in “I Am What I Am” (La Cage aux Folles), which many singers belt out as an anthem. Blackhurst delivered it as Herman always said it should be done—as a story song with a rising arc into a triumphant, but not overwhelming, conclusion. Kudos too for the interpretive excellence that follows such vocal control. Her delivery on “Dear World” (Dear World), from its acapella start through a piano-only accented conclusion was stunning and soul-stirring.
Blackhurst had the honor of knowing and working with Jerry Herman. One of the Girls, with personal remembrance, was very much from the heart. In addition to tidbits from Herman’s life story, Blackurst added some great numbers that aren’t “mainstream.” Declaring him the heir-apparent to the tuneful Irving Berlin, she offered an evocative “What’ll I Do” (from Berlin’s 1923 Music Box revue) perfectly paired with “Time Heals Everything,” a tune from Herman’s own personal favorite show, Mack and Mable. Herman’s ill-fated time in Hollywood, where he was largely ignored, was musically illustrated 
with “Just Go to the Movies” (A Day in Hollywood/A Night in the Ukraine). In honor of Ethel Merman, for whom Hello, Dolly! was written (and who refused to play it for years), she sang a cut song “World Take Me Back,” inserted into the show in 1970 when Merman finally embraced Dolly Levi. And how extraordinary to hear “My Type” (Nitecap)—for the first time in 64 years since it was last performed.
One of the Girls owes musical excellence to pianist and arranger Michael Rice. Among the many wonderments of the show were a swing-based “Put on Your Sunday Clothes” (Hello, Dolly!) and a beautiful flow and upward momentum on the waltz, “I Don’t Want to Know” (Dear World). Over all, what Rice captured was the storytelling in musical accompaniment that paralleled the story told through lyric and melody. Also providing superb musical support for One of the Girls was Ray Kilday on string bass and Aaron Russell on drums.
All photos of Klea Blackhurst by Maryann Lopinto
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