Try to name a place he hasn’t performed, or a talent he doesn’t possess. That whirlwind of energy and nonstop creativity, Mark Nadler, is a singer, pianist (classical and otherwise), tap-dancer, actor, comedian, writer and director—and 
more! Born and raised in Waterloo, Iowa, Nadler, with a particular interest in Danny Kaye and Jimmy Durante, began performing professionally at age 10 at the Long Straw Saloon in Cedar Falls, Iowa. He also studied at the Interlochen Arts Academy before precociously moving to Manhattan at age 17, launching a career that would take him to numerous touring, Broadway and Off-Broadway productions, television, cabaret and beyond. He has created and performed in shows too numerous to mention, many of them award-winning.
The Beat of a Wandering Heart – The Songs of Marty Silvestri and Joel Higgins, a musical revue, makes its world premiere at The Laurie Beechman Theatre for five performances from Tuesday, November 11 through Saturday, November 15, with performances at 7 PM. The show, created and directed by Mark Nadler, which 
includes choreography by James Harkness and musical arrangements by Nadler, also features a four-piece band.
NiteLife Exchange (NLE) asks Mark Nadler (MN) Six Questions:
NLE: You’ve created and directed the new musical revue The Beat of a Wandering Heart – The Songs of Marty Silvestri and Joel Higgins. What led to you putting together this show and what about the team’s songs inspired you?
MN: Twenty-five years ago I created and directed a revue of Carol Hall’s songs and it was one of the most artistically satisfying things I’ve done. I’ve always wanted to do another one. Marty and Christine (Andreas — his wife) have been friends of mine for a long time. One night they were at my house for dinner and after dinner we went to the piano and Marty played some songs he’d written for a 
show he and Joel wrote called The Fields of Ambrosia. I loved them! I then saw a workshop of a show they wrote called The Countess of Storyville and again, I was knocked out by the quality of the songwriting. Then… a couple years later ….the presidential election of 2024. After that election, I was deeply depressed. I just couldn’t get myself out of the sadness and fear and deep disappointment I was experiencing. But Marty had a big birthday just a couple weeks later and I’d promised Christine that I’d threw a surprise birthday party for him at my house. There was so much warmth, conviviality, joy and love at that party and I thought to myself “This is exactly what I need to get through this. I need Marty’s spirit!” Marty’s spirit is all over these songs, so I decided it was time to revisit the experience of creating a revue of songs written by a friend. And here we are!
NLE: You have albums and shows dedicated to the 60s, the Jazz Age and the Weimer Republic, but this revue generally covers more contemporary material. Do you take a different tack with
songs of a more recent vintage?
MN: For me, the process is always the same. It doesn’t matter when the songs were written — or in which language! It’s all about fleshing out the lyric in a way that allows the music to enhance the telling of the story of the song. Also, I consider it my job both as a performer and as a director/arranger to get the audience’s juices going — to make them laugh, cry, or dance (at least inside).
NLE: Even though you’ve directed many shows before for other artists, you’re primarily known as a performer. How do you perceive the skill set being difference between those?
MN: It’s kind of interesting in that both performing and directing are about 
being able to communicate clearly. As a performer it’s about communicating directly to the audience. As a director it’s about being able to communicate my vision to another performer in such a way that they can give me what I’m looking for. The main difference is as a director, I’m the surrogate for the audience and I’m always asking myself “is this giving me what I want as an audience member? Is it clear? Is it moving? Is it entertaining?”
NLE: You also have an ongoing collaboration with vocalist and Broadway star Stephanie Pope. What do you like about working with her?
MN: Stephanie, like Christine (and like George Dvorsky and James Harkness, who are also in The Beat of a Wandering Heart, is a top professional — a highly skilled Broadway performer. When you’ve worked in as many Broadway shows as these people you have a skill set and work ethic that’s just more refined than most other performers. Stephanie and I are putting together a holiday show that we’re going to be doing both in New York and 
in Philadelphia. It’s kind of a tired genre in my opinion, so we’re having a lot of fun finding new ways to create a joyous holiday experience.
NLE: In your vast career, you’ve performed everywhere from small clubs to Carnegie Hall. Do you approach your material differently in different settings?
MN: I certainly don’t approach the material differently, but I do adjust my gaze. I always try to sing to every single person in the room — no matter how big the room is. So in a place like Rose Theater for example (where I just played as part of the Cabaret Convention), I tend to play more of the song up to the balcony and then, occasionally come back to the orchestra. Just by keeping my gaze higher, I include more people which increases the size of the performance without 
adjusting anything like volume or the size of my gestures.
NLE: You and your partner Dominic Meiman have been together for 20 years – does your long-lasting relationship help support your professional career?
MN: Dom and I will celebrate twenty-five years together in February! Because he’s an excellent classical pianist and piano teacher his insight and support regarding my work are invaluable. He’s also a person who knows how to give a lot of space and that’s hugely important. Would I be able to do my work if Dom and I weren’t together? Probably. But the work would be different. Dom forces me to keep my standards high!
