By Marilyn Lester***Triple threat Tony Yazbeck can add another credit to his already well-honed toolkit of talent—-philosopher of some heft. His recent show at Feinstein’s/54 Below was chock-full of all four items, all delivered with consummate artistry. Yazbeck’s singing and tap dancing was as thrilling as ever, informed in this evening by reflections on the past 18 months of life in Covid lockdown and beyond. His opener of “Let There Be Love” (Lionel Rand/Ian Grant) set the tone for an evening filled with messages of love, brimming with light and hope.
Yazbeck, like the many performers who have found themselves live on a stage again after the many months of the existential crises of the pandemic, was beyond thrilled, and grateful to be back. His intention was, he said, to “brighten your spirits and infuse joy into your soul.” He certainly was a purveyor of those qualities and by the end of the evening fulfilled his mission. Taking it back to the beginning, to his early years, Yazbeck paid tribute to an inspiration of his, triple threat Fred Astaire (an icon who deserves the over-used term, legendary). His medley of Astaire hits included “Shall We Dance,” “Slap That Bass” and “(I’ve Got) Beginner’s Luck”—-all written by George and Ira Gershwin.
Billy Joel’s “New York State of Mind” introduced a touching reminiscence about Yazbeck’s beginnings on Broadway—appearing at age 11 in Gypsy. Born in California, New York City became his city. He reflected on his early years here and the tragedy 20 years ago of 9/11. The heartfelt message being that we survived then and will continue to survive and thrive. He’s definitely a “when life hands you lemons, make lemonade guy.” “Something’s Coming” (Leonard Bernstein/Stephen Sondheim) put a button on that point.
Two special guests Phillip Attmore and Michelle Dorrance, both Broadway veterans and dancing virtuosos, had their own spotlight turns. Attmore, like many accomplished artists, is attentive to the heritage he represents; he knows whose shoulders he stands upon. In this case, he paid homage to choreographer Hermes Pan and to Sammy Davis, Jr., performing the number both have been noted for, Cole Porter’s “Too Darn H
ot.” Dorrance turned a soft shoe into a tour de force with a tempo change on “I Can’t Give You Anything But Love, Baby” (Jimmy McHugh/Dorothy Fields).
Throughout the evening, Yazbeck, a charmer who’s as real as it gets—-a man who walks his talk—- shared stories and opened his heart throughout a splendid set that also included “All I Need Is the Girl” (June Styne/Stephen Sondheim), “So Lucky to Be Me” (Leonard Bernstein/ Adolph Green/Betty Comden) and a reflective “Both Sides Now” (Joni Mitchell). “It’s all about silver linings,” Yazbeck declared. Through song and with plenty of joyous tapping, and predicting the resurgence of our beloved City of New York, he made believers of us all. What better way to declare it than in an encore of “On the Sunny Side of the Street” (Jimmy McHugh/Dorothy Fields).
Yazbeck is a performer who can hold a stage on his own with complete confidence. He was accompanied in this outing by pianist-arranger and music director, Jerry Korman. Korman’s playing, perfectly supportive and full-bodied, underscored the notion that the addition of any more instruments on stage would be an intrusion. Yazbeck’s show was one of intense intimacy. To dilute that shining bright light in any way would have been counterproductive. The team of Yazbeck and Korman called it, and what a gift this evening was.
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