This week Sue presents some responses to her questionnaire of last week's column, and reviews 4 cabaret shows: Carole Demas' SUMMER NIGHTS at the Laurie Beechman; Freda Payne's CELEBRATING ELLA AND OTHER LADIES OF JAZZ at the Iridium Jazz Club; Janelle Rintrona's ON MY WAY at The Duplex; and Bob Diamond's THIS FUNNY WORLD at Don't Tell Mama. She also has more cabaret picks, plus some great news about several cabaret events she and MATSUKI PRODUCTIONS are presenting in NYC and Connecticut.
Answers to last week's Questionnaire. My Questions are in Black. Responder #1 is in Red (a VERY famous award-winning performer who took the time to respond to all the questions - THANK YOU dear one!), my comments are in Green and a few Misc. Responders are in Blue.
1. Could you talk about ways that those of us not living in big cities, or places where there are no resorts or clubs, might promote cabaret as an entertainment option? Yes, the internet is wonderful and opens up all kinds of possibilities to connect, but without exception, every support person I have ever reached out to in a cyber-way (publicity, people who book cabaret series, reviewers) has basically pooh-poohed me because of my geographic location. This does not apply to people who want to charge up front ... they are MORE than happy to take money from me if I want to send it. Sue, I know we cannot make anyone change their attitude about out-of-towners, but if you have pointers, or people who are more open, or alternate avenues to pursue, I'd sure love to hear it - and I'd bet I'm not the only one!
If you're talking about promoting cabaret at a venue in your area, many local papers and magazines whole heartedly accept press releases, sometimes even with a photo. The 'out-of-town venues I've worked from Key West to Kennett, Missouri all have weekly, monthly and sometimes daily publications which publish what you send unedited. It really helps.
My comments on these questions are that locally, one could create a gig by approaching a community center, senior center, restaurant or club and bringing a proposal to them about how they and you can bring singing to their venue. Go with a proposal and figures on how it could work. Finding a place that already has a piano is a plus ... perhaps a hotel. Offer a test drive for free. To me, a "Cabaret" is where the music is so you could even do a once a month spot at a local school or church auditorium. The singer creates the intimacy so this would be a way for folks in your area to learn what the heck "Cabaret" is and who you are and what you have to offer. Use these spots to invite the press folks and the hotel folks and the club folks to see a sample of what you can do and then approach them with your proposal to do this same thing at their venue
Re PR: It is important to not only send materials to the various papers but actually call these publications and radio stations, find out the name of the person you need to speak to and speak to them. Charm them. We're performers ... smooze them. I recently interviewed myself and sent it to a bunch of papers thus enabling them to put the interview into the column as if they did it themselves which, of course, made it a no-brainer for them. I also got to say what I wanted the readers to know about the show. 8 out of the 10 folks I sent it to printed it! Do as much work for them as you can and make it easy for them to say yes or to just cut and paste your Press Release right into their format. Speaking of which, go look at their format and see how much space they are allowed, what font they use and what information they print and send it to them that way. This again makes it that much easier for that person to just cut and paste it into their format and it's done!
I totally hear you on the pay to play option. Yes, I can book in Florida if I am willing to fly myself there and bring in an audience and pay for a PR person down there to get the bodies into the room but why would I? I WISH I had better news for you on this but the truth is ... it's the same all over. WE, the singers, are responsible for being the "draw" to bring in the house. If the show doesn't do this and you are not well-known in that area ... how is this going to happen? I have found that composer or "legend" shows tend to sell better out of town because of the person you are paying tribute to. There are venues that hire and fly you there and put you up but these spots mostly go to folks with established names or folks who come to them through an agent or booking/management company. This is another fact. Sorry. Not what you wanted to hear I'm sure but I'm just telling you the truth as I know it and you are right, you are NOT the only one. It is so frustrating.
I think that if you have any press about the kind of singer you are or your show that you want to book at their place that this would be a great help in securing a booking but most of the places I've approached want me to get myself there and pay my own hotel so even if I get paid for the actual show, once I pay my band and these expenses, I've already lost lots of money. My other friend gets all his paid gigs through an agent. Many places won't even take a press kit from you directly; they will only book you through an agent. There is also the problem of getting a band where you are traveling to or having to bring your Musical Director with you which costs you a lot of money. Out of town gigs are not all that they seem to be.
2. How, after you've spent SO much money and time on producing a show where you only had about 40 people in the room over a 4-show run do you (or can you) justify doing another show? I just want to know how people, after they do the math, can even want to ever do another show.
I'm very strict in my opinion on this: ONLY DO A SHOW WHEN YOU HAVE SOMETHING TO SAY and can afford to do it the way you want. DON'T do a show to make money. Don't 'justify' doing a show because you lost money. Do a show because you NEED to.
I would only add to the above is that if those 40 people loved your work and you challenged yourself to give each person in that room the best show you could give, you should feel proud of what you did. This makes you a pro. Those 40 might then bring someone the next time and your audience will start to grow. The only reason I usually feel sad to close a show run is because after the run the show is usually is such great shape performance wise that I'm sad to put it to bed if you will. What I usually do is book it out of town. My "Ella & Me" Show is going on 7 years! I cannot believe that this one show has morphed and developed over all these years into what it is today. Be very proud of ... the work ... the growth ... the progress. As my friend above said, when asked, "Why do we sing?" To me, the ONLY response is, "Because I have to."
I don't want to sound snotty but do you want to sing or not? The days of the Copacabana hiring you with a big band to support you are over unfortunately. We all know what this is now.
3. (Same person as above.) Also, in the same area as above, how does one survive a bad review? How do you get back on stage after you have been embarrassed publicly?
Reviews are opinions. And opinions are like ...everybody has one. If you have enough encouragement from the people you trust, keep going. You need the confidence and a tough skin in any part of show business. If you let one review make you question why you are doing this, get out of show business.
And I might add to the above, get out of the business now and save yourself a lot of money and heartache but also you'd probably lose your dream! Again, not surprisingly, I agree with Mr. Red above! I would only add that you should read the review with an open mind, take what you and your team feel is feedback that you can use and decide what you all just disagree with and move on. I got one really mixed review as my first review (with a picture - ouch) and I have that review on my wall in my office to this day to remind me how far I've come. Also, that particular review spoke with me afterward and basically said that they were one opinion AND that person has followed my career for all these years since ... so ... trust me, now that I'm reviewing, most of us mean well and want to be constructive and help but yes, there are some who are just mean.
Also remember this, you are never as good as your best review and you are never as bad as your worst ... the truth lies somewhere in the middle. Like Mr. Red said above ... WELCOME to the business, here is your armor!
4. I read your column last week on collaboration, how, for someone just starting out, do you find the best team possible and how much power do you give them if you really are a novice?
Shop for collaborators at open mikes, other people's shows and the internet. Having done shows with many friends over the years, there's some I would work with again in a heartbeat and others you couldn't pay me enough to work with again.
I've said this same thing in previous columns (scroll back and read some of them) but the best way is to shop. What shows have you seen that you really liked? Who played on them and who directed ... find out! What I would also add is "interview" them. Spend the 1 hour session and bring in your material and run it with the MD to see how you both communicate, how they play down your charts, how the two of you work together. With a director, before you actually meet "on the clock", ask them how they like to work and then go to your first meeting prepared. Ask the performer they worked with how they liked working with them. These are jobs. Treat your singing like you would your day job -as a career. You would not hire someone without interviewing them ... right?
5. Can you talk a little about how to prepare my 14-15 songs in an order that makes sense? Does the show concept come first? Do you have to have a theme? Can I just do 14 songs that I love and, if so, how do I make 14 songs that are not about a theme make sense in terms of a show order?
Sometimes the 'concept' comes to you and other times there are songs you simply MUST do. If you are using a director (which is NOT necessary) get their thoughts, depending on how deep the collaboration is.
This is a whole class for me but let me give you a quickie response for now. Maybe I'll do a whole column on this down the road. This is my formula for a concert type show (not a theme show) if you will and may not work for everyone. First I list my 14 songs and write the feel of the tune next to it - Latin, Up Tempo, Ballad, Power Ballad, Show Tune, Blues, Jazzy, etc. This shows me when I start to put the songs in order what is going before and after in the flow of the program so that I don't have 6 ballads all together or 4 Latin feel tunes one after anther.
I usually write 1 - 15 on a piece of paper and because I usually know my opener and 2nd number and my "11:00 number" and closer so there at 4 spots done right there. There should also be an ARC to a show so what else is on the list that is bigger or more up tempo or exciting or funny that can go in the middle spot? I usually also do 2 - 3 ups and then do a ballad in spot 3 or 4 so that I know that the audience is settled in and ready to listen to a ballad. I also do a ratio of 9-10 up/medium tempos to 4-5 ballads. Again, these are my choices for the program I like to present and as you all know by now; I'm not big on a ballad heavy show. Also, DIVERSIFY your songs and feels. Man, I cannot tell you how many really great singers do a show of basically the same story or feel tune. It's boring no matter how well you sing. Mix it up. Show us what other chops you may have!
For this type of show, there is also the idea of clustering songs and making like mini-arcs with 3-4 songs that basically have one little story and then you chat and then there could be another 2-3 song arc with a different perspective. Patter (chat between songs) can help you transition from one song to another or one section of a show to another. My biggest suggestion is to be yourself and say what your songs mean to you. Really overly rehearsed patter comes off less sincere so work on just speaking to us like you would a good friend. You know this material, you chose it ... just deliver it. My friend Carolyn Montgomery once said to me, "If you were at a party talking about Ella and what she means to you, you'd just speak to me about her ... right? Why make your chat so precise and "pat"?" I never forgot that conversation.
Now, if you are doing a theme show, this is a whole other ball of wax. You need to select songs relevant to your script/idea/theme is and the placement of your songs and what comes after what can matter more in this type of show to stay true to your (here's the hated word) journey in your show. I would recommend taking an attempt to put your show in order in terms of what you want to say and what you want the show to be and then present it to your team for feedback and welcome their opinions because as I said two columns ago ... collaboration is a good thing and two heads (or three) are better than one! They may have better songs for you based on your theme. Be open to change.
6. What songs are overdone in New York? For those of us who come in to do shows, are there songs that we should avoid doing?
You can do the most 'overdone' songs and if you bring something new and personal to them, it doesn't matter. Times change. There was a time when EVERYBODY was singing 'What I Did For Love' or 'Memory' and now I can't remember the last time I heard either song. Pay no mind to what songs are commonly heard, do what songs mean the most to YOU.
Agreed. My favorite thing as a reviewer is when I see a way over done song on the song list and then the singer floors me with their interpretation of it. I recently did a class on how to audition for a Broadway show with some panelist who actually audition on Broadway and this same question was asked of them and the same answer was given ... all songs are fair game just deliver.
Anything from "Wicked" and "The Bakers Wife" are songs I hear way too much.
7. How do we get press to come into see our show? If I am doing 5 shows, I'd like to get them in early so that, hopefully they can review it and I can use the quotes to get more people in for the run of the show but, I also think that my last few shows are always a little bit more settled so, there is a risk of not presenting my best work early on in the run of a show that's brand new ... what do you think?
Be ready for ANY audience when you open. If you're worried about songs 'settling in', invite a few close friends to your final rehearsals so you see what works and how an audience affects your performance.
I think your instincts are correct ... people are so anxious to get press in and many (many) times the show needs to get what I call "legs" before it should be reviewed. What's wrong with getting a quote at the end of the run of a show if you feel the show grew and got better? The quote is a quote and can be used if you bring the show back or just in your press kit as a useable quote for that show. They say that all press is good press but I don't think this is true when you are starting out. I actually try to see many new acts because it's harder for new singers to get press in but I always ask them if they are ready for a review and, if I think the show and that the performer needs to grow, I will mention what I didn't like about that show in my VIEWS section so that I do not hurt them when they are just starting out. Hopefully, they knew I was in the room and they read the VIEWS and "hear" what I want them to know about their show while not "outing" them publicly. The divine Karen Mason once told me to be careful what you wish for when it comes to reviews. Also, as you read the various reviewers comments, you can also choose who you would like to invite based on how constructive (or not) they are when they review.
8. I keep reading and hearing other people and reviewers say that someone is "connected" to a lyric and I get it, it's obvious, but how does a singer know if they are translating as "connected" if they think they are and the viewer doesn't.
You can't worry whether your audience is 'getting it' or whether they are feeling the emotion you're conveying thru the material. It's your job to express it the best possible way you know how and it's their job to get what they want or can or choose to get from it.
I think that if you are connected to your song be it with a sub-text or a personal story, that IF that emotion is strong in you as you perform the tune, it will translate strong to your listeners. They do not have to know what your story is (don't ever tell them either) they only have to know that you're feeling it. Whatever it translates to them through their own filters will translate to them. I once did a song called "Almost Over You" and my subtext was simply chocolate/food issues ... a very strong emotion for me ... LOL! Well, the next day a dear friend called me to say that the song was very painful and that I should take it out and was everything ok with me and my husband ... .What???!!! You see, for whatever reason, SHE filtered those words and my strong emotion through her own "stuff" and this is how the song translated to HER. It could have been about a dog to the person next to her ... who cares as long as they all felt something. I did my job. My mentor and friend David Friedman calls this having a true circumstance to sing from.
I think it is more about what your audience feels rather than what you feel but I would say that you have to have a point of view in order to make them feel or to communicate anything. One acting exercise is to go line by line and really understand what that line means to you. I personally hate when a singer tells me what they are singing about. It ruins the song for me. I really like when I know that person is feeling it though. We just know.
CAROLE DEMAS IN SUMMER NIGHTS - THE WEST BANK CAFE/LAURIE BEECHMAN THEATRE (407 West 42nd Street, NYC - 212-695-6909) - With Ian Herman on piano, Sean Harkness on guitar, Special Guests: Paula "Magic Garden" Janis and soap opera's Ilene "Roxy" Kristen and the last young man to play Danny on Broadway in Grease, Josh Franklin. Directed by Charles Repole.
This one night only, sold out show was such an event that I lost myself in it. Carol is an exquisite singer with a Broadway (the 1st Sandy in Grease) and TV (children's show, The Magic Garden) pedigree so I expected the singing to be great but the show concept, song choices and delivery of every single tune were all just so impressive. She sings with such joy and passion too. With a long program of 20 tunes, I cannot possibly comment on all of them and while I would advise her to shorten this show a bit, I would also be hard-pressed to tell her which songs to cut as they were all so wonderful!
Some that stood out as extra special for me were her absolutely stunning version of Paul Simon's "Old Friends" into James Taylor's "The Secret of Life" into "Try to Remember". While she tells us that she is 70 years old, one's eyes cannot believe this but knowing that she recently celebrated the 40th year of the original Grease production, and listening to her deliver the tunes above as a person of a certain age and experience, it brings a new meaning to her material. It just does. There is wisdom and gratitude in all that she sings.
She demonstrated this again BIG TIME at the end of the program when she sang "Meadowlark" like no one I have ever heard sing it before but, to be fair, she did play the role in Schwartz' The Baker's Wife so she knew what this song was and man, did she deliver. One of my readers above in the VIEWS section said that this song is done too much but honestly, it if was done like this, I'd listen to it every day. THEN, as if this wasn't enough, she brought us to tears again when she delivered a gutsy strong rendition of Billy Joel's "I've Loved These Days" which again, as this woman with her professional background, the honesty in her telling us that her life has been and continues to be good, really good and that she is grateful well, there wasn't a dry eye in the house. AND ... .just when I thought we were done, she delivers "A Quiet Thing" as almost a prayer to music and her love of it and to us, the audience and she actually delivered it quietly ... what a concept!
She was stunning. This show was stunning. Carol Demas is an inspiration to me. She inspires me to strive to be a better singer and to do it for a long time for the pure joy of just singing and to be grateful for the honor of entertaining.
FREDA PAYNE CELEBRATING ELLA AND OTHER LADIES OF JAZZ - IRIDIUM JAZZ CLUB (1650 Broadway, NYC - 212-582-2121) - With Frank Owens on piano, Lyle Atkinson on bass and Buddy Williams on drums.
Miss Freda "Band of Gold" Payne rocked it out at the late set at the Iridium to a smallish house but with the same energy she would have played a sold out concert. I so respect this. This is a big star! This is a lady who can rock it, swing it, and sing pop, do blues and looks like a million bucks. She looks like the gorgeous Vanessa Williams' um, big sister! A stunning lady with pipes for days! I love her doing jazzier tunes more so than the "groovy" material but she basically can sing anything. After the concert we chatted a bit and she herself said that she considers herself more of a jazz singer so I guess I got that from her singing.
Like me, she was influenced by Miss Ella Fitzgerald at a very early age and began her life long fascination and study of all things Ella. When she sang, "Mr. Paganini" an Ella hit with some very famous scat riffs, she totally used her own musicianship to create her own fun scat runs rather that just copy what Ella did and it was very impressive. She's a very natural scat singer and does it with the ease of knowing that her incredible band would always be right there with her. The show was great! She covered some tunes of other greats like Lena Horne and Billie Holiday and did a cover tune or two but when she did a song that she recently recorded called, "He Gained the World but Lost His Soul" in light of Whitney's passing, this song about a singer who started in church and became a superstar to fall to the same end, well, it was yet another color to her incredible voice and talent. This song will be released soon on an album but I believe it is currently available to download as a single so check it out.
My biggest grin came when she set up and then delivered Ella's Berlin version of "Mack the Knife" where Ella lost her lyrics and made some up because she set it up exactly the way I set my version up and I've been doing this show for 7 years. It made me smile because if I have the same thought process as this great lady on a song choice and set up, it makes me happy. Personally she could also not be more gracious.
What a GREAT night of music ... first Carol and then Freda ... I was one happy singer, reviewer and fan on Wednesday night! You need to keep an eye on Scott Barbarino's ScoBar Productions. He's really bringing in some wonderful big names and acts at the Iridium.
JANELLE RINTRONA IN AN ENCORE PERFORMANCE OF ON MY WAY - THE DUPLEX CABARET THEATRE (61 Christopher Street, NYC - 212-255-5438) - With Gregory Toroian on piano, Steve Millhouse on bass and Sean Dixon on drums. Directed by Helen Baldassare.
DISCLAIMER: While I do not know Janelle, Gregory Toroian has been my Musical Director for 17 years and I have worked with Steve Millhouse several times. As always this is about Janelle while recognizing that I thought the band was fantastic!
Gregory brought Janelle to my attention and said that I should see her and after hearing that Helen Baldassare was directing the show and the Gretchen Rinehagen is Janelle's vocal coach, I pretty much knew it was going to be a good show and it was! While leaning toward a jazzier delivery in her vocals, Janelle has very eclectic taste in music which kept this show interesting. She showed us an array of what she could do vocally and artistically. She is also a dancer so she moves great on stage and has a sassy confidence that she admitted to having on her take on Beyonce's "Ego". However, in her hands, when she said, "I talk like this 'cause I can back it up" she absolutely can ... with talent ... so this tune came off with a wink. Well done!
At times I could hear a glimmer of a Billie Holiday sound in her vocals but she also has a power under her voice that she uses judiciously which is nice. The whole program felt even if you will. She also has a really great sense of humor as demonstrated brilliantly on Scott Alan's "His Name" from Home the Musical. She's a really good actress.
She also did a little nod to Michael Jackson as one of her many influences in music proving that she can sing pop as well and then on "Loads of Love" by Richard Rodgers (from No Strings) the arrangement was so cool, it went from Jazz waltz to a 4/4 feel and with her singing, it sounded like a Dave Frishberg tune ... very cool! This is a young woman to watch.
BOB DIAMOND IN THIS FUNNY WORLD - DON'T TELL MAMA (343 West 46th Street, NYC - 212-757-0788) - With David Jarvis on piano. Directed by Gretchen Rinehagen. NEXT SHOW: Thursday, March 22nd at 7:00 pm
DISCLAIMER: I have known Bob Diamond for about 20 years but honestly, I haven't seen his work in about 15 years so, as always, you need to know that I know him. I have been invited by Bob and Gretchen to review him as I see him tonight so here goes!
Pretty darn good buddy! When I knew Bob his vocals were nothing like they were tonight so it goes to show you that hard work and the joy of singing and a darn good Director and Vocal Coach brings so much to the table if you're willing to open up to the process and learn. Bob evidently is a sponge! He has always been an amazing actor and he's whip smart but the combination of great songs choices with how he sings now and his ability to interpret a lyric made this show really something.
The show is basically a story of a man with a lot to say. Funny, poignant, whimsical, emotional ... he took us all on quite a ride! I think he was best on patter songs; he is the King of the Patter Song! I'd love to hear him do a Noel Coward show because his delivery of "Mrs. Worthington" by Coward and "Tonight at Eight" by Harnick/Bock were fantastic pieces. "Mrs. Worthington" was made funnier by his set up which was that he was the head of the children at the Metropolitan Opera! He was also brilliant at using real clips of his life to set up each song.
My favorite section was his funny and sexy delivery of "Can That Boy Fox Trot" into "You Must Have Been a Beautiful Baby" into "Fifty Percent" into "Mary's Bar" ... man, talk about a song flow telling a story with no patter or words needing to be uttered. Genius! A man (and a director) that get that sometimes, less is more and yes, we are smart enough to get it! Thank you. When Bob just blushed and giggled and smiled knowingly in the music break of "Can That Boy Fox Trot" it said so much more and made us all laugh with him AND, I just have to say that I knew John Wallowitch and he would have been thrilled to hear Bob's version of "Mary's Bar". "Fifty Percent" was just stunning!
Also, hearing a man of a certain age deal with what we gals of a certain age deal with brings home the fact that love is love and that pain is pain and that loss is loss. It does not matter what genders are involved. I am SO glad that I liked this show so much. It's tough to review friends but both Bob and Gretchen (and David Jarvis of course) brought us a really super show!
A few shows to recommend for this upcoming week.
FEINSTEIN'S at the Regency Hotel (540 Park Avenue, NYC - 212-339-4095) will present ERIC MICHAEL GILLETT and LA TANYA HALL from February 21st through 25th. Performances are Tuesday through Thursday at 8:00 pm and Friday and Saturday evenings at 8:00 pm and 10:30 pm. All performances have a $40 cover with $60 premium seats and $75 up-front seats available. In addition, there is a $25 food/drink minimum. Jackets are suggested but not required. As you all know, Eric is one of my 10 BEST SHOW picks of 2011. I can only imagine how wonderful this show will be with his partnership with Ms. Hall AND this incredible musical team's repertoire. Definitely a MUST SEE!
It's continues to be a busy New Year ... Matsuki Productions is presenting a new monthly series that I will be booking at the newly renovated landmark Palace Theater in Danbury, CT , plus the People You Should Know series continues at DON'T TELL MAMA.
HOLD THE DATE! SATURDAY, FEBRUARY 25th
2012 at 5:30 pm at DON'T TELL MAMA
(343 West 46th Street, NYC - 212-757-0788): CABARET HOTLINE ONLINE and Sue Matsuki Productions are proud to present ... . PEOPLE YOU SHOULD KNOW
. Hosted by Sue Matsuki with Musical Director Barry Levitt. Starring Bruch Clough
, Gary Crawford
and Joanna Morton Gary
. These are 3 INCREDIBLE talents that you need to meet and hear! We all know Gary as one of the most supportive people in our rooms. Come show HIM some love and hear his amazing voice. Bruce and Joanna are both two singers that can sing, blues, R&B, jazz and theater pieces with the best of them.
Saturday, March 3rd, 2012 at 8:00 pm at THE PALACE DANBURY (165 Main Street, Danbury, CT - 203-794-9944) - ELLA & ME - A Tribute to the First Lady of Song - Bringing a few of her stellar jazz musicians with her, multi-award winning singer and MAC Award Winner for Female Jazz Vocalist, Sue Matsuki, will offer a tribute show of the tunes that Ella made famous during her American Songbook Series recorded on Capital Records. Music by Berlin, Porter, Cahn, Gillespie, Mercer, Arlen, Burke and featuring some of her most famous songs like: "How High the Moon"; her famous version of "Mack the Knife"; "Miss Otis Regrets"; "Lullaby of Birdland"; "A Night in Tunisia"; "Blue Skies"; "Love for Sale" and more!
"This is the music she was born to sing ... I urge you, no I beg you to see this show!" - Stu Hamstra, CabaretHotlineOnLine.com
Tickets at http://www.thepalacedanbury.com/ : $20 advance $25 at the door General Admission *Ticketing fee included.
HOLD THE DATE! SATURDAY, MARCH 24th at 5:30 pm at DON'T TELL MAMA (343 West 46th Street, NYC - 212-757-0788): CABARET HOTLINE ONLINE and Sue Matsuki Productions are proud to present ... .THE PEOPLE YOU SHOULD KNOW BETTER ... Comics in the House! Hosted by: Sue Matsuki (Also doing stand up!) *Starring an ALL STAR Cast* Danny Leary, Tom Ragu, Nancy Redman & Other Surprise Guests With Very Special Guest Star MR. Sidney Myer. In March we're celebrating FUNNY with these very well-known NYC comics who I'd like the Cabaret Community to know better because they are all Fabulously Funny! There will be music too ... funny music ... and other surprises.
Click here to join: CABARET HOTLINE ONLINE - for show discounts and a guide to all things Cabaret around the country and to read my column: Sue's Views, Reviews & News
Dream it, Believe it, DO IT!
e-mail me at SueMatsuki@aol.com
For more information on me or to read my resumes/reviews please visit my personal website at http://www.SueMatsuki.com/