Marilyn Maye, the Marvelous, Was Totally Captivating at 54 Below

By Marilyn Lester***If ever a performer was born to the stage, it’s actor-singer Marilyn Maye, dubbed the “Marvelous.” To that we’d gladly add “magnificent,” “mind-blowing” and “magical.” She’s also been called Manhattan’s Queen of Cabaret, and to that there’s no disputing. To attend one of her shows is to be at an exalted master class of “how it’s done.” Should this paragraph strike you as hyperbole, then, dear reader, go see for yourself.

And may we add (it’s no secret), that his dynamo of a performer is on the threshold of turning 95 in April. Her vocal power is undiminished, her energy level in the stratosphere and her ability to put together nearly ninety minutes of 36 songs is dazzling. That quantity of tunes is encased in Maye’s love of the medley. Save for a handful of songs, the thematic dominated—a programming choice not too many performers can actually make work effectively. The first medley was entitled, “Johnny Mercer Medley,” quite appropriate since the entire show was dedicated to the work of Mercer, primarily a lyricist, but on occasion a composer as well. And so, off the bat, came swinging renditions of “Day In, Day Out,” “Too Marvelous for Words” and quite a few others.

With so many shows in New York City alone under her belt, the challenge (for any performer) is to keep the act fresh and new. This Maye accomplished in this run at 54 Below by melding two sides of herself. Heretofore, there’s been mainly “Cabaret Marilyn” and “Jazz Marilyn.” in the latter category, Maye can scat and swing up a storm. On the “Female Name Medley,” she included Duke Ellington’s “Satin Doll” in a jazz version that would have made Duke and co-composer Billy Strayhorn nod in tacit approval. In that same medley, Maye switched out her own name for “Emily”—just one indication of the wit, humor and playfulness liberally dotted throughout the evening.

That Maye humor also appeared in Richard Whiting’s composition of “Have You Got Any Castles, Baby?” She’s fond of creating parody lyrics, and that gift was applied here with great comic effect. Joyful, playful—happy to be sharing a good time—these were the feelings that enveloped the room and bathed it in an aura of being part of something very special. Another attribute of this master entertainer is her ability to grab and hold an audience in the proverbial palm of her hand. During this particular outing, Maye enhanced that skill with an extra-special turn of reaching out very directly. She called for audience participation on several numbers, including “Goody Goody” from the clever “Revenge Medley,” as well as the evergreen “Moon River” from her “Dream Medley.”

Nostalgia was also part of the evening. Maye has been performing for most of her life. She reflected on having a radio show in her teens in her native Kansas City, Kansas. As part of her “Autumn Medley,” she delivered a stunning rendition of the story song, “(Ah, the Apple Trees) When the World Was Young”—originally a French song by Philippe Gérard, with lyric by Angèle Vannier, and English version by Mercer. Like Billy Strayhorn’s “Lush Life,” singing this tune takes a stellar talent to get “right.” Maye effortlessly accomplished this, telling the story with subtle force and clarity.

And because this particular show was dedicated to her favorite songwriter, Mercer, there was reflection on visiting Mercer’s hometown of Savannah, Georgia, and standing by his grave in Bonaventure Cemetery, where she sang to him “Skylark” a cappella. This tune she sang quietly to her rapt audience, giving especial meaning to the lyric. Nearing the end of this remarkable evening, two more elements of the Maye ethos came clear. One is that she’s a virtuoso at constructing a show, hitting the ebb and flow of emotional marks with bullseye accuracy—building an arc toward a satisfying conclusion. She’s also amazingly natural at dealing with glitches. Second guessing herself a few times on the proper lyric, Maye had no problem making light of it, and with characteristic humor and wit, consulting music director Tedd Firth .

Maye’s spot-on encore, “Any Place I Hang My Hat Is Home,” was a declaration as much as a closer. Her home is the stage, and how fortunate we that we’re invited into it.

Maye’s long-time pianist, arranger, music director, Tedd Firth, was especially in the groove during the show, his playing full of swing and creative ideas. Matt Aronoff on bass and Mark McLean on drums offered superb support with rhythm. 

There’s still time to catch Marilyn Maye at 54 Below. She plays there through Saturday, October 22. Reserve here.