By Marilyn Lester***Born to the stage is not an exaggeration for singer-actress Leslie Uggams. Arriving on the planet in 1943, she was a child performer in the early 1950s. In 1951 she acted in her first TV gig in “Beulah,” playing the niece of star Ethel Waters. From there, Uggams went on to a stellar—and often groundbreaking— career on stage and in television and film. She’s the recipient of Golden Globe and Emmy 
Awards and a Tony Award, among a host of other accolades. Uggams has never stopped working (even via Zoom during the pandemic), and her awaited return to 54 Below proved that this powerhouse dynamo is as thrilling as ever.
With Leslie Uggams: Only in New York, and with vocal power still going strong, the diva effortlessly delivered an eclectic set of numbers very personal to her, and relevant to the city of her birth. Most of all, her delight at being in the room and performing to a cabaret audience was palpable and energizing. “Only in New York” (Jeanine Tesori, Dick Scanlon) and “Broadway” (Diana Krall) underscored Uggam’s sense of her place in the city that’s anchored her. As to those pandemic days, “You Will Be Found” (Benj Pasek, Justin Paul) summed up the mood of getting through and soldiering on. She’d begun the show with the declaration, “It’s so good to see real people!” Delightfully, Uggams brought up her da
ughter, Danielle Chambers, for a stunning duet on this tune from Dear Evan Hansen. (Uggams has been married to her longtime manager Grahame Pratt since 1965. The two first met at the Professional Children’s School of New York and reconnected as adults.)
Polished to a radiant, sparkling shine, Uggams’ narrative was focused and spot-on precise, without a word wasted. Her delivery gave the air of spontaneity, and also allowed for wit and an ad lib if she deemed. Uggams also revealed the capacity to be downright funny—and her timing was impeccable. As a prelude to “June is Bustin’ Out All Over” (Richard Rodgers, Oscar Hammerstein II) she had the audience in stitches. At the 1995 edition of PBS’s “A Capitol Fourth,” rain was a culprit. The tune wasn’t part of her usual 
repertoire and on muddy ground, the cue card person slipped, scattering the cards (and lyrics) everywhere. Ever the consummate performer, Uggams improvised her own lyrics. Having survived that ordeal and moving on, the cherry on the humor sundae came when a friend called to tell her, “Do you know you’re playing in every gay bar in America?”
A hallmark of an A-list performer is the ability to tell the story—most importantly by a keen understanding and delivery of lyric. Vocal dynamics also help tremendously. These are qualities possessed by Uggams, and so turning “Don’t Rain on My Parade” (Jule Styne, Bob Merrill) from an anthem into a story song, yet still with a big finish, was genius. Likewise, performing a sharp medley of “Yesterday” (John Lennon, Paul McCartney) with “Yesterdays” (Jerome Kern, Otto Harbach), infused with blues full of nuance, Uggams gave new insights into the tunes. And in a tribute to Jerry Herman, citing “If He Walked Into My Life” as “the best gift he ever gave me,” the diva brought the song to life in a fresh way.
As to that aforementioned Tony Award—in 1967, the musical Hallelujah, Baby! not only won Best Musical but gave Uggams the prize for Best Leadingg Actress in a Musical. With music by Jule Styne, lyrics by Adolph Green and Betty Comden and book by Arthur Laurents, Hallelujah, Baby! chronicled the story of the African American struggle for equality during the early 20th century. The musical was a star-maker for Uggams, and from it she sang “My Own Morning” and “Being Good Isn’t Good Enough,” with a particular shout-out to Styne.
Supporting Uggams were musicians entirely matching her talent and abilities. Music direction was by Don Rebic on the keys, George Farmer on bass and Buddy Williams on drums. Uggams was deftly directed by Michael Bush.
