Originally from Missouri, actor and vocalist Phillip Officer made his way to New York City as a young performer, where he quickly established himself as an A-list performer on the cabaret scene. As a 1997 Variety review noted, Officer “combined impeccable musicianship with crystal- clear enunciation and an ability to communicate each song as if he were sharing his favorite short story.” He has 
sung in venues ranging from Carnegie Hall, Symphony Space, Kaufman Theatre at 92 St Y, Russian Tea Room, and Rainbow & Stars and the Oak Room at the Algonquin Hotel, among many others. Officer is also a recording artist with several albums under his belt and available on Amazon and other platforms.
He originated the role of the “Geek” in the 1997 Broadway Tony-nominated musical Side Show, in addition to creating a leading role in the musical Starcrossed at the Goodspeed Opera House in Connecticut He also made a cameo appearance in the Off-Broadway world premiere of Elegies for Angels, Punks and Ragging Queens.
This Tuesday, September 24 at 8:30 PM, Officer returns to Birdland with his new show You Fascinate Me So–an homage to cabaret legend Mabel Mercer, with music director Mark Hartman. You Fascinate Me So explores the evolution of American popular music, and a creative coterie of songwriters crafting a contemporary style of song in the early 20th Century. Click here to learn more and make reservations.
NiteLife Exchange (NLE) asks Phillip Officer (PO) Six Questions:
NLE: Your upcoming show at Birdland is You Fascinate Me So, which explores the evolution of American popular music That’s a huge topic. How are you planning to present roughly 100+ years of music in a short set?
PO: That’s good question; that’s a lot of ground to cover! As the title of my show announces, I will primarily focus on Mabel Mercer’s influence on song interpretation in America in the early 20th Century. When she was bestowed the Presidential Medal of Freedom by former President Ronald Reagan, the citation noted “Mabel has helped shape and enrich American music.” In particular, it was her focus on the lyric of a song, and her intimate storytelling that would effect generations to come.She would inspire young, upcoming singers like Frank Sinatra, Lena Horne, Tony Bennett, and Peggy Lee, who meticulously studied the technique Mabel employed.As the microphone and radio were invented, these upcoming singers became recording and movie stars. The tunesmiths of Tin Pan Alley were making room for the new songwriters contributing to Broadway. Mabel was a vessel that all writers dreamed to have sing their compositions.
NLE: As you acknowledge, Mabel Mercer looms large in the vocal music world. Did you ever see her in person? How has she informed your own approach to lyric interpretation?
PO: Unfortunately, I had not arrived to New York City early enough to witness a live performance by Mabel. However, cabaret impresario, Donald Smith introduced me to a video of a live performance of Mabel in the late 1970s at Cleo’s 
on the Upper West Side across from Lincoln Center. Mabel insisted that primary focus be given to the lyric of a song. Like many of the great actors that I’ve studied with (Donna McKechnie, Joanna Gleason), the acting choices of the lyrics are paramount. And decisions must be made!
NLE: As per the long-running UK program “Desert Island Discs,” if you had only five albums to listen to ever again, which would you select and why?
PO: Stevie Wonder – Songs In The Key of Life. (Classic Inspiration); Barbra Streisand – A Happening In Central Park (or) A Star Is Born. (She was the beginning for me as a song stylist): Broadway – Once On This Island (or) Into The Woods (or) Sunday In The Park With George (NEVER tire hearing these scores over and over!); Broadway – Side Show (Do I have to explain this ?!?!): and James Taylor – American Standard (produced with John Pizzarelli and IMHO – American music at it’s best!)
NLE: Because you have a special awareness of lyrics, who ranks as your favorite lyricist? Is this even an answerable question?
PO: This is an impossible question to answer! My opinion changes like the hands on a clock, depending on my mood at the moment. We all march to a different emotional beat. Personally, I have been triggered most by Stephen Sondheim. I find it amazing that composer Richar
d Rodgers had two successful partnerships with two diverse lyricists, Lorenz Hart and Oscar Hammerstein II. I’ve always adored the whimsical Yip Harburg. And then there’s Johnny Mercer. I’ve always been mesmerized by Tom Waits’ lyrics, though I’m not certain I’m a vessel to sing his repertoire. I admire and respect that there’ are so many different angles to approach writing a lyric, and the style that you want to use to communicate a feeling. Variety is the spice of life, and I enjoy that in word play.
NLE: Some years ago you moved from NYC to Las Vegas; what informed this decision? What has the move brought to your life, assuming this has been a success story?
PO: I was at a point in my life where my immediate five family members had shrunk to two in just a few years. I had lost my mother, father and one brother. I needed to take a break from singing and spend some personal time reflecting and evaluating. I made the decision to leave New York City and move to Las Vegas to build a foundation for financial security and mental health. It was not an easy decision to leave a lifestyle and friends behind, but it was a necessary one for me, personally. This change humbled me and reminded me that I was capable of excelling in a number of alternative lifestyles and occupations. It enriched my essence and continually inspired me to learn and explore new avenues in my life. I have never lost or misplaced my love for music, theatre and singing. Today, I feel lucky to be alive and grateful to still have a vocal instrument to share what makes my heart sing.
NLE: You’re also an actor. Biographies especially note your role in Broadway’s Side Show. Where has acting fit into your artistic life overall? And now?
PO: As fate would have it (not by choice), I attended a university theatre program that primarily focused on acting/directing. There was a separate music conservatory program, but they did not intertwine. I was in two different worlds. The majority of my training was for classical and contemporary acting. I was forced to crossover to a separate program for musical vocal training or dance. When I studied voice, my curriculum was strictly classical and operatic music. Not my jam! But, alas, it was a good foundation for my future. In reflection, I realize how fortunate I was to understand the importance of the “text” for the foundation of telling the story. Transfer to interpreting a song, I value the commitment to dissecting the lyric meaning. Adding your personal point-of-view when performing only deepens the emotional impact an audience will experience. In the end, I feel the more attached to the lyric I am, the stronger my vocal performance becomes. Presently, when I finish my evening at Birdland, I return to Las Vegas to begin rehearsals at The Majestic Repertory Theatre for the Kander & Ebb stage musical Cabaret. I have been cast as Herr Schultz. I played The Emcee character approximately 40 years. I’m invigorated to revisit this classic musical, and opening night is my 69th birthday!
