In just two seasons, Scott Siegel, the creator, writer and host of "The Broadway Musicals of..." series, has made these shows the talk of the town...with nary a Tony nomination in sight. This absolutely wonderful show happens only on Monday nights five times a season at Town Hall. Siegel's clever idea to present musical salutes to those songs from vintage shows produced during a selected calendar year, whether a hit or flop, and that deserve to be heard again, has caught on big with the public. Audiences respond enthusiastically to his witty, history-laced narration, the excellence of the performers drawn from the world of Broadway and cabaret, and the overall smartness of this fast-paced concert/revue. But they especially love the sense of re-discovery of show tunes that may have slipped through the cracks over the years. In the beginning, Siegel was so concerned about selling tickets, he would stand outside Broadway theaters handing out flyers and personally hawking his creation. For the most part, each show has topped the previous one. The shows are now sell-outs. People can now be seen begging for singles before curtain time. This season, we have been transported back to 1949, 1935, 1926 and 1960. Besides being reminded by Siegel that 1963 was the year Kennedy was assassinated, the Atomic Bomb Treaty was signed, and the zip code was inaugurated, there were some great songs being sung on Broadway. As most musical-theater buffs are aware, a show can be a flop (meaning no return to the investors) and still be loved for its score or at least a couple of the songs. Of the nine musicals given time in this edition spotlighting 1963, only Oliver! with a score by Lionel Bart, was an all-out smash hit. And except for the moderate success of She Loves Me, Sheldon Harnick & Jerry Bock's musical based on Perfumerie, a 1937 Hungarian play by Miklos Laszlo (also filmed previously as "The Shop Around the Corner," "In the Good Old Summertime," and subsequently as "She Gets Mail"); and 110 in the Shade, Tom Jones and Harvey Schmidt's musical version of N. Richard Nash's play The Rainmaker, the other shows, including Meredith Willson's Here's Love (based on the film "Miracle on 34th Street"), Howard Dietz & Arthur Schwartz's Jennie, Martin Charnin & Mary Rodgers's Hot Spot, Anne Croswell & Lee Pockriss's Tovarich, based on the Robert E. Sherwood 1936 adaptation of the comedy by Jacques Deval, and Steve Allen's Sophie (about Ms Tucker) lost money and had disappointing runs. One of the highlights of every edition has been what Siegel calls "Broadway Unplugged," at which time a performer sings without benefit of mike, more likely than not, giving the audience a chance to hear it the way it was originally heard. These selections often get the biggest round of applause, not only because we get to hear the real glory of the human voice but because audiences tend not to stir or make a sound (believe it or not) during these numbers. Despite having to scramble when two singers—Robert Cuccioli and Tonya Pinkins—bowed out a week before showtime, the roster, which included Nancy Anderson, Stephen Bogardus, Sara Brians, Liz Callaway, Marc Kudisch (also making his series debut as director), Euan Morton, Julia Murney and Noah Racey, was augmented by the appearance of George Dvorsky, who appeared last season in The Broadway Musicals of 1933. It was Dvorsky who sang the first off-mike song "Gonna Be Another Hot Day," a steamy aria from "110 in the Shade," to close the first act. Ninety minutes earlier, however, the show opened with Bart's Consider Yourself" (Oliver!), a bright ditty that introduced Anderson, Bogardus, Murney and Morton, in cheery harmony. It was, in fact, Oliver! that got the lion's share of time. It's a Fine Life" and "As Long As He Needs Me" were sung by Murney, the latter off-mike. Another of Murney's off-mike arias was the charming "Is It Really Me," from 110 in the Shade. Taboo's Euan Morton was an audience pleaser with the witty "Reviewing the Situation," and with his contemplative "Where is Love." (As a child, Scottish actor, Morton played the title role in Oliver!.) Calloway and Bogardus had fun with "I'd Do Anything." Morton's pleasing, relaxed style was perfect for the ballad "Everything Beautiful Happens at Night," from 110 in the Shade. From that show, Bogardus sang the rhapsodic "Melisande," off mike, to everyone's delight. She Loves Me ranks high with musical theater buffs because of its opportunities to show off a coloratura. Both Calloway and Anderson complied and brought beauty and vibrancy yet individuality to "Ice Cream," and "Will he Like Me?" respectively. But the piece de resistance was Lacey's exuberant singing and dancing to the title song. The closest thing to operetta was Coward's "The Girl Who Came to Supper," and the closest thing to ecstasy was Anderson's bubbling rendition of "I've Been Invited to a Party." From the same show were "I'll Remember Her" and "Lonely," a pair of melodic melancholy ballads sung respectively and beautifully by Bogardus and Dvorsky, the latter off mike. Kudisch deserves kudos for his slick and skillful staging but also for his empowered (off-mike) singing of "The Rain Song" from 110 in the Shade. The best memory of Tovarich, was Anderson and Morton's cutesy duet "Uh Oh." "When I'm in Love," from Sophie was super charged with the ebullient dancing of Racey and Brians. A surprise extra and a joy was the appearance of Toxic Audio, the a capella group currently appearing in their own off-Broadway show.
