By Marilyn Lester***In 2008 when he was a mere 80-year-old, the three-time Tony Award, and a two–time Grammy and Emmy Award winning composer and lyricist, Charles Strouse, authored his autobiography Put on a Happy Face: A Broadway Memoir. It’s the title bestowed on the first night of the 35th Annual Mabel Mercer Foundation Cabaret Convention in honor of this living legend, who was in the 
house (Rose Hall at Jazz at Lincoln Center) and to whom multiple musical bouquets were delivered throughout the evening.
Briefly, Strouse’s amazing output in theater, for over 30 musicals (14 for Broadway), includes hits, Bye Bye Birdie, Annie, Applause and Golden Boy. His work for film includes Bonnie & Clyde, The Night They Raided Minsky’s, There Was a Crooked Man and more. He also wrote one of the most recognizable television themes to date: All in the Family’s “Those Were the Days.” And of course, that tune was included in Put On A Happy Face: A Celebration of Charles Strouse, sung by co-hosts Jeff Harnar and Andrea Marcovicci—the perrenial pair who’ve graced the Convention for many years. They charmingly announced themselves with “NYC/I Don’t Need Anything But You.” Later, as penultimate singers, each delivered a Strouse tune: “Night Song” (Harnar) and “Once Upon A Time” (Marcovicci).
The Strouse love-fest began with newbie to the Convention, the banjo-weilding Bryce Edwards, aided by soprano sax man and vocalist, Danny Bacher, with “Never Fully Dressed Without A Smile.” Bacher returned later in the evening with “Take Ten Terrific Girls and Only Nine Costumes,” a number that allowed him to express the full range of his many talents as a vocalist, musician, comedian and… magician! On a more serious note, Ari Axelrod sang “Children Of The Wind” and 
then was completely surprised to be presented with the prestigious Mable Mercer Award, making for a very touching moment.
Among the cabaret favorites (among a host of them) were cherries on the sundae: the Act One closer, Marilyn Maye—the exceedingly Marvelous—offered a power-packed and joyful “Put On A Happy Face.” Lee Roy Reams starred in this Broadway show, and so naturally sang the title song from it: “Applause.” There were two formidable Karens: Akers with “It Would’ve Been Wonderful” and Mason singing “I Want To Be With You.” And back after a career hiatus, Broadway star Craig Rubano delivered “There’s Always One You Can’t Forget,” reminding us of his dazzling voice and capacity to reach deep within himself to perfectly interpret the lyric.
There was comedy: Tovah Feldshuh as “Leona Helmsley” was hilarious, as always, with dry wit and delivery, while also singing “Possibilities/Kids.” Marta Sanders was a standout as Annie‘s Miss Hannigan, with haute exasperation singing about “Little Girls.” Groups? Absolutely. The much-fêted (and deservedly so) Those Girls delivered “Hard Knock Life;” piano bar players from Don’t Tell Mama, the DTM Dial Tones offered “The Telephone Hour;” and the Kenyan triplet sensations 
MOIPEI closed the evening with “Tomorrow.”
Among the many other marvelous acts to serenade Strouse were: Leanne Borghesi (“Blame It On The Summer Night”), Lumiri Tubo (“No Man Is Worth It”), Marissa Mulder (“One Boy”), Marieann Meringolo (“A Lot Of Livin’ To Do”), Madalynn Mathews (“Wanting”) Maude Maggart (“The Best Night Of My Life”), Ann Anello (“Welcome To The Theater”).
The evening closer with full cast was a rousing “Tomorrow” reprise, ending a delightful first night for the Mable Mercer Foundation’s annual celebration.
A word about the musical staff: the house players for the evening were an insanely talented rhythm section: pianist extraordinaire Jon Weber, with bassist Ritt Henn and drummer Sherrie Maricle. As is the case at every Convention, some performers bring along their own music directors, and those pianists thus included composer Stephen Schwartz, Nicolas Perez, Christopher Denny, Beth Ertz. James Bassi, Alex Rybeck, Steven Ray Watkins, Richard Danley, Doyle Newmeyr, Tanner Swinand, Gerry Diefenbach, Antongiulio Foti and p-Gerald Sternbach. Other musicians who appeared were clarinetist Jim Piela and Trumpeter Joey Lamb.
Finally, on a not-so-delightful note, two technical aspects of the show were lacking: one was uneven sound, with the mix distressingly off; and lighting that made one wonder if the electric bill had been paid. Except for a few fleeting moments, the entire auditorium was dark, save for special lights/spots illuminating the performer(s). Those not sitting close to the stage were literally left in the dark.
