He’s a vocalist, an actor, a circus ringmaster, and over the past few years he has successfully directed cabaret shows for some leading performers.  Eric Michael Gillett gathered all his skills for his own latest show, saluting the songs of Harold Arlen.

Complexity describes the brilliance of Harold Arlen.  He was an introspective man with a strong sense of social justice as well as wit and a bright sense of humor reflected in many songs, like Gillett’s smart argument that “It’s a Woman’s Prerogative” (with Johnny Mercer for St. Louis Woman).  Arlen’s melodies were distinctive and inventive.  His jazz instincts were keen, lending, as Gillett says, “a muscular, cantorial quality” to the music he wrote with lyricists like Mercer, E.Y. Harburg and Ira Gershwin. From Arlen’s vast songbook, Gillett designed a fluid program that built to emotional heights and kicked back with sensitivity.

With delightful bonhomie, Gillett lowered his hale and hearty tenor to interpret the selections in an intimate cabaret room. The hour-and-a- half program was a showcase for a nuanced sensitivity.  On a steamy summer opening evening, he brought the temperature down to a comfortable warmth for the soft swing in “Come Rain or Come Shine,” “That Old Black Magic” and “This Time the Dream’s on Me,” all written with Mercer.  Each word is carefully rendered. There was a relish in singing words like “strawberry” and “sweet potato” in the witty, sexy “Little Biscuit” (Harburg) from the musical Jamaica.  In “That Old Black Magic,” he punched out the words, “Every time” in the line “Every time your lips meet mine,” focusing into the song’s passion. His audience connection was sharp and his phrasing evoked the intent.

Gillett’s directing ability was evident and well-crafted, with light anecdotes leading into the songs. For example, talking about Arlen’s influence led Gillett into a nostalgic arrangement of “This Time the Dream’s on Me,” with Music Director/pianist Don Rebic and bassist Matt Wigton’s staccato rock ‘n’ roll beat, reminiscent of a ’50s prom slow dance. His choices were varied, highlighting the rousing enthusiasm of “Get Happy” (Ted Koehler), the sweet swinging optimism of  “It’s Only a Paper Moon (If You Believed in Me)” (Harburg), and one of the great blues favorites, “Blues in the Night,” (Mercer). “Don’t Like Goodbyes” from House of Flowers (Truman Capote) was lusty with a saloon blues arrangement.

Gillett’s heartfelt nexus came with Arlen and Harburg’s “Over the Rainbow,” called the most popular song of the 20th century. He admitted riskiness in taking on a “Judy” song, but his rendition was smooth and thoughtful.

Here was music to savor, sharp patter, good humor — one week is too short for a show this engaging.

Eric Michael Gillett continues at Feinstein's through July 10.

Elizabeth Ahlfors
Cabaret Scenes
July 6, 2010
www.cabaretscenes.org