By Marilyn Lester***At the conclusion of actor-singer Norm Lewis‘ 10th Anniversary run of The Best of Christmas at 54 Below, there was no doubt—if there ever was—that this Broadway mega-star is in himself a gift to us. Lewis is a Presence: one of those few and remarkable people who have a 
light that shines through and uplifts. Being in his orbit is simply a feel-good experience. And the club itself is the perfect venue to showcase his talents: warm, festive, intimate and impeccably elegant.
The template of a Lewis show is familiar, crafted with director Richard Jay-Alexander, and it works just fine. Entering singing from the bar and circulating through the audience, “It’s the Most Wonderful Time of the Year” (Edward Pola, George Wyle) set the tone of good cheer and the groundwork for celebration. “It’s a party,” Lewis insists, and it is so. As the assured and congenial host, musical, emotional and spiritual wants were more than satisfied. His narrative is warm, direct and aimed straight at… you. We’re best friends, at least for the evening.
There were “party songs,” which Lewis tucked neatly into the theme of The Best of Christmas. He teased into “Fever” (E
ddie Cooley, John Davenport), made famous by Peggy Lee, but which had been a huge hit a bit earlier for Little Willie John (on the so-called Black R&B charts). With special lyric he coyly offered “Santa Baby” (Joan Javits, Philip Springer,, Tony Springer) and was truly full of “Razzle Dazzle” (John Kander, Fred Ebb). Also from Broadway, there was “The Music of the Night” (Andrew Lloyd Webber, Charles Hart, Richard Stilgoe). How could there not be that song, as he himself acknowledged. Not only does the number showcase Lewis’ magnificent bass-baritone range but marks his significance as the first Black Phantom in the super-long-running Phantom of the Opera. His sumptuous vocal also did ample justice to The Wiz‘s “Home”—a tune attributed to Charlie Smalls, but in fact written for Smalls by songwriter Larry Kerchner.
Like many performers from the South—Central Florida in Lewis’ case—growing up meant a deep experience in the Church and in gospel music. And indeed, Lewis brought us to church with several “statement” 
songs sprinkled in the set. One of these was the beautiful memory tune by David Friedman, ” We Live on Borrowed Time.” Another was “Let There Be Peace on Earth” (Jill Jackson-Miller, Sy Miller). And as is usual in a Lewis evening, there was a special guest: the mezzo soprano Hannah Jones, who sang “The Prayer” (David Foster, Carole Bayer Sager, Tony Regis, Alberto Testa) and a resounding and deeply evocative “Cruda Sorte (Gioachino Rossini, Angelo Anelli).
The finale asked the question, “Why Couldn’t It Be Christmas Every Day?” (Jay Landers, Walter Afanasieff) and encored with a prayer in “Just Be Kind” (Walter Marks).
Throughout the evening, Lewis was supported by virtuosic musicians, bassist Dylan Shamat and drummer Perry Cavari. Leading was music director-arranger-pianist Joseph Joubert, whose musical gifts are, simply put, extraordinary and profound.
