Michael and Cheyenne and Frank

As the moving force behind one of the few successful high-end nightclubs in NYC and a renowned performer in his own right, Michael Feinstein has a vast knowledge of and appreciation for the singers and songwriters of the past as well as the present. This will be fully demonstrated over the next few weeks, in two different cities: From June 2 through 12, Michael will team up with hot-hot-hot Broadway star Cheyenne Jackson for the first time in a duet show at Feinstein's at Loew's Regency; and on June 19 and 20, he'll bring his "Sinatra Project" to Boston's Symphony Hall, where he'll perform this acclaimed tribute to Ol' Blue Eyes with the world-famous Boston Pops. I recently had the opportunity to chat with him about these exciting endeavors.

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BROADWAYSTARS: Michael, I'm planning to come see you in Boston.

MICHAEL FEINSTEIN: That's gonna be fun. The orchestra's so great, and I love the city.

STARS: I have the Sinatra Project CD, and I love it, but I didn't get to see the show when you did it at Feinstein's. How many musicians did you have there?

MICHAEL: I had a 17-piece big band. We actually moved the show into the ballroom, where we could fit the band comfortably. It was fantastic; the power and the glory of such a group of musicians was very exciting. It was the only way I could have paid proper tribute to Sinatra.

STARS: The arrangements on the recording are fabulous.

MICHAEL: Thank you. I'm very proud of that project. I really wanted to take a fresh approach to the music.

STARS: What kind of reaction have you gotten to the show and the CD?

MICHAEL: Well, the CD was nominated for a Grammy. People in the industry really got that the project was not only about Sinatra as a singer but also about the sound and the engineering. We recorded in two-track stereo, with the band playing live together in one room without isolation, the way Sinatra recorded in the '50s. And the arrangements are an hommage to his taste without copying his charts. The audience response was particularly gratifying for me; that we were able to satisfy people who were Sinatra enthusiasts but not necessarily part of my fan base was, in some ways, the greatest satisfaction.

STARS: I'm assuming you have separate sets of charts for the various bands and orchestras?

MICHAEL: Yes, I actually have three sets. The recording session charts were for a band with string. Then there's the standard set for a big band, and then there are the symphony charts. It's a lot of music.

STARS: I hope you don't have to cart all of them around yourself.

MICHAEL: Well, the various shipping services are getting rich off of me, Let's put it that way.

STARS: Now, to Cheyenne Jackson! I can't wait to see you guys perform together.

MICHAEL: We're having an incredible time. I've seen him in a number of things, most recently in Finian's Rainbow. He's a tremendously talented, instinctive singer with a great ability to organically interpret songs. It's been exciting for me to work with him on standards, to come up with routines, key changes, and other ideas that really make the songs fresh, and also to work on more contemporary material. I think the combination really shows the best of what each of us is about.

STARS: To me, what makes Cheyenne so special is that he absolutely possesses the voice, looks, and manner of a leading man but he also has a hilarious sense of humor

MICHAEL: He's formidably talented. And when it comes to learning new songs and arrangements, he's like a sponge I have tremendous admiration for him.

STARS: Can you tell me some of the stuff you guys will be singing?

MICHAEL: Yes. The opening number is "I'm Nothing Without You" [from CIty of Angels], with a slightly tweaked lyric. Then we're going to do the famous Frank Sinatra/Sammy Davis Jr. duet version of "Me and My Shadow," but I've extended it and kind of Feinstein-ized it. You can't copy something like that without tweaking it a little bit, or else it will be mercilessly compared to the original.

STARS: What else?

MICHAEL: We have a couple of numbers that will be presented in different contexts. There's a Rodgers and Hammerstein song that relates to cultural changes in our world; I don't want to give away too much, but it's about people having the freedom to love in whatever way they choose.

STARS: Speaking of which: I heard Cheyenne sing at the marriage equality rally that was held in midtown a couple of weeks ago.

MICHAEL: I was there, too. Cheyenne sang "If I Can Dream," a song that Earl Brown wrote for Elvis. Earl was a friend of mine, and he happened to be gay, so I think he would have been very moved by Cheyenne's performance at that event.

STARS: Will you two guys be doing any kind of a "friends" medley at Feinstein's?

MICHAEL: No, we won't be doing anything so "Julie and Carol" -- not that there's anything wrong with that! We're trying to do things that are equally fun but perhaps a little more sophisticated, if you will. I'm really looking forward it.

Barbara Song

Ever since her magnificent career "comeback" as a cabaret and concert artist in the mid 1970s, the beloved Broadway veteran Barbara Cook has been singing gloriously in venues ranging from intimate clubs to grand halls, with instrumental forces ranging from piano, bass, and drums to full symphony orchestras. Within the next few weeks, her fans will have a chance to experience her artistry in two very different contexts, as she reunites with the New York Philharmonic for a one-night-only concert at Avery Fisher Hall on Saturday, May 30 and then returns to Feinstein's at the Loew's Regency June 18-20 for a reprise of her acclaimed show "Here's to Life." I recently spoke with the always charming, down-to-earth Miss Cook and posed several questions, including how the heck she can still be singing so phenomenally well in her eighties. (No, that is not a misprint.)

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BROADWAYSTARS: Barbara Cook and the New York Philharmonic, together again. What a wonderful thing.

BARBARA COOK: Yes. It's fun to play with those guys and gals. Just about half of the program will be material that I've never performed with the Phil. The last time I sang with them was in January of 2008. Time creeps up on us!

STARS: When you sing with symphonies, where do the orchestrations come from?

BC: As you know, those orchestrations are quite expensive, so there are some that I've used through the years. Jonathan Tunick has done some for me, and Peter Matz did a lot. Unfortunately, he's not around anymore. What a great guy he was. So talented.

STARS: Your voice is a natural wonder. Do you have any explanation for your amazing vocal longevity?

BC: Well...not really. I have a technique that obviously works for me, because I've been using it for over 50 years now. The only real voice teacher I ever had, Robert Kobin, gave me that technique. The other thing is common sense; if something hurts, I don't do it, if you know what I mean. Plus, it's gotta be genes. And I have good health, thank goodness.

STARS: Would you say that you lead an exemplary lifestyle?

BC: Hardly! I'm afraid I don't exercise as I should, and I don't always eat as I should. Lately, I don't sleep enough. But I've never smoked, and I don't drink; I did drink a lot for a while there, but I don't anymore. My voice has certainly changed over the years. I don't sing those really high things anymore, but there's enough there so that I can more than get by.

STARS: You still sing largely in the soprano range.

BC: I don't think of it that way. I just sing. I try to find the right path, and I don't worry about what's what. My teacher felt that the changes that happen when a voice goes from one register to another will happen automatically if you don't concentrate on all that.

STARS: Since you brought up the subject: Based on your recordings from the mid 1950s to the present, it sounds to me that you never really had a noticeable register break.

BC: Well, that was one of the main things my voice teacher worked on. Vocal cords are made the same way. Talent is another thing, but we know all know how the sound is made. There's no mystery to that. But some voice teachers do all these silly kinds of things.

STARS: You're a great supporter of younger generations of singers. You've given joint concerts with Audra McDonald, and I know she's a particular favorite of yours. Who else?

BC: Norm Lewis. God, what a beautiful voice. Adam Pascal. Stokes, of course. Josh Groban doesn't do theater, but he has a beautiful sound. I haven't seen much musical theater lately, because I've been very busy. But every now and then I get out the ABCs and make a big list of what I want to see.

STARS: You've famously sung "It's Better With a Band." Do you prefer to perform with a stage full of musicians like the Philharmonic, or with a much smaller combo as you will at Feinstein's? Or does it really depend on the venue, the repertoire, and so on?

BC: Well, I love working with the Phil. And just recently I opened the season for the Boston Pops. Symphony Hall is beautiful, and the sound there is sensational. I don't really have a preference for a large orchestra over a small group, because there are plusses and minuses to both situations. The kind of sweeping sound you can get with lots of strings is so wonderful, but those concerts require more rehearsal, which we don't always have.

STARS: As fabulous as your concert at the Metropolitan Opera House was a few years ago, I was disappointed that you didn't sing with the Met orchestra.

BC: It's about money, isn't it, darlin'? That's what it's about!

Friends of the Theater

The 60th annual New Dramatists spring luncheon was held at the Marriott Marquis on Tuesday, May 19. The organization's Lifetime Achievement Award went to the late, great playwright Horton Foote, and there were multitudes of actors, writers, composers, producers, etc. on hand for the festivities. Here are my pix of the event.

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Three great ladies of the theater: Carole Shelley, Marian Seldes, and Tovah Feldshuh.

Hallie Foote, the playwright's daughter and one of his greatest interpreters.

Alice Ripley and J. Robert Spencer, who play husband and wife in the new musical Next to Normal.

The writers of Next to Normal: Brian Yorkey (book and lyrics) and Tom Kitt (music).

The ever-beautiful and gracious Angela Lansbury.

Zach Grenier (33 Variations) and Jeff Daniels (God of Carnage).

Four young stars of Billy Elliot: Trent Kowalik, David Bologna, Kiril Kulish, and David Alvarez.

From Shrek the Musical: Christopher Sieber and Brian d'Arcy James.

Marin Ireland and Thomas Sadoski, who never look this happy when playing their troubled characters in reasons to be pretty.

Playwright Jon Marans (The Temperamentals, Old Wicked Songs, etc.) and producer Daryl Roth (whose credits are too numerous to mention).

Composer/lyricist Stephen Schwartz and librettist John Weidman.

Performer/producer Jamie deRoy and humorist Mo Rocca.

Two of John Kander & Fred Ebb's favorite women: Debra Monk and Chita Rivera.

David Lindsay-Abaire (Shrek, Rabbit Hole, etc.) and Max Wilk.

Four beloved theater veterans: Lee Roy Reams, Jim Dale, Carole Shelley, and John McMartin.

Getting Married Today

The movement for marriage equality was given a huge boost on Sunday, May 17 when such fabulous Broadway folks as Cynthia Nixon, David Hyde Pierce, Cheyenne Jackson, Audra McDonald, and the cast of Hair gathered with Governor Paterson, Mayor Bloomberg, other politicians and activists in midtown Manhattan to rally for the cause. Check out my pix of the event, and to see what you can do to help, visit www.BroadwayImpact.com.

The company of Hair got the rally off to a thrilling start with two numbers from their show.

Tony Award nominee Gavin Creel, who plays Claude in Hair, is one of the movers and shapers behind the pro-marriage equality organization Broadway Impact.

Cheyenne Jackson, another out and proud Broadway star.

Cynthia Nixon brought along her Sex and the City cohort Kristin Davis for moral support...

...and then spoke passionately about the cause.

Two more openly gay Broadway stars: Christopher Sieber and John Tartaglia, both of whom are in Shrek.

Also out and proud: David Hyde Pierce (Accent on Youth, Curtains).

Broadway performers Eric Sciotto and David Eggers with their beautiful son, Samson.

Playwright Douglas Carter Beane was on hand with his partner and children.

Four-time Tony Award winner Audra McDonald brought the rally to an end with a stirring song.

Some of the actors who succeeded Nathan Lane and Matthew Broderick in The Producers gave less than successful performances. But Brad Oscar and Steven Weber, who immediately followed Lane and Broderick, were terrific as Max Bialystock and Leo Bloom. (I hope you got to see them.)

I interviewed Oscar shortly after he got the role of Max, and ever since then, I've wanted to speak with his co-star; but Weber, who's best known for his work in Wings and other TV series, has only now returned to the New York theater for the first time since his stint in The Producers ended. As it happens, he's appearing with Broderick in the Roundabout Theatre Company's revival of Christopher Hampton's The Philanthropist, which opened to largely negative reviews including a sharp swipe from Charles Isherwood in The New York Times. So it's not surprising that, when I recently got Weber on the phone, he had much to say about the critics in general and one critic in particular.

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BROADWAYSTARS.COM: It's a pleasure to finally speak with you, Steven. How's The Philanthropist going?

STEVEN WEBER: It's going quite well, in spite of our unbelievably bitchy reviews, which I think were a little unfair. Ironically, younger crowds seem to be enjoying the show most of all; it's such an intellectual play that I thought it might not appeal to that age group, but they're involved and very responsive. The Philanthropist is not Mamma Mia! It's not fluff. It requires the audience to be present and clear headed. The play is challenging, but people really seem to be engaged by it.

STARS: Can you speculate on why so many of the reviews were so negative?

SW: I don't know. The thing is that the one review you generally count on, the Times, was so spectacularly bitchy and weird and unfounded. This is a play that was lauded in its first productions overseas and in the United States, so for it to be completely tossed aside is more of a reflection on the people reviewing it. Whether you like the play or not, it certainly isn't a piece of disposable crap.

STARS: And you feel that the Times review was particularly unfair?

SW: Yes. For such a good writer -- which Mr. Isherwood is -- to slag it off in such a ridiculous manner was really quite shocking. I don't mind a bad review; Variety gave the show a more well-considered negative review. This is a British play with a lot of words. It's not the kind of play that prompts people to fly to their feet and scream "Yeah!" like they do at Blue Man Group. But audiences can rise to it.

STARS: I saw Matthew Broderick interviewed on TV, and he said that you had the author with you for some of the rehearsal period.

SW: Yes, for most of it, in fact. It was great, because there were aspects of the play that were difficult for us to understand, and he was there to help. Moreover, he was very supportive; he wasn't an imperious, egomaniacal author. He was there to collaborate on this production.

STARS: I'd like to take this opportunity to say a belated bravo for The Producers. You and Brad Oscar were a terrific team in that show.

SW: We had the best time. I saw Brad just the other night. He's doing very well.

STARS: When you went into the production, did you work directly with Susan Stroman and/or Mel Brooks?

SW: Yes, they were there all the time -- Stro and Mel and the original creative team. At first, it was me and Henry Goodman rehearsing. Then poor Henry got removed, and I almost did, too.

STARS: Really?

SW: Well, they realized that, somewhere along the line, an error had been made. So I think for a moment they were considering purging the entire show. But I worked extra hard, threw myself on the mercy of the court, and they kept me. It's tricky to re-cast a long-running show that becomes a franchise. It's like making dupes of videotapes; every successive generation is a little fuzzier, or certainly a little different. That original production with Matthew and Nathan was brilliant, but it was also lightning in a bottle. I think the show's producers were surprised that it was impossible to recreate that phenomenon.

STARS: Now you're working with Matthew in The Philanthropist. Did you know him beforehand?

SW: Yes, I got to know him a little bit when I was taking over for him [in The Producers]. I count him as a buddy now. We have a very good time on stage, and we hang out after the show. We drink our drinks, we lick our wounds...

STARS: I know you did Hair for the Reprise! series in L.A. Have you had a chance to see the Broadway revival?

SW: I haven't had a chance to see anything! I wish I could see Hair. When we did it in L.A., the response was fantastic. People went berserk; they wouldn't let us off the stage. I can only imagine how amazing a fully produced version of the show must be. It's a great show, and it hasn't lost any of its urgency over the years. And although the music was at one time relegated to pop status courtesy of The Fifth Dimension and The Cowsills, it really is a fantastic, impactful score.

STARS: Can you remind me which of the two leading roles you played?

SW: I was Berger, the Gerome Ragni/Treat Williams character. I was the oldest hippie on stage, even though that was about eight years ago. I was 40. I looked sort of like a meth addict. Like Iggy Pop.

STARS: My god, you're 50 now? You look great.

SW: I'm 48. Don't "50" me yet!

STARS: Sorry, my math isn't very good.

SW: Apparently not. You'd better get on that.

STARS: Your Wings co-star Tim Daly has done Broadway. If you guys could do a show together, what would you want it to be?

SW: I'd like to do The Maids with him.

STARS: The Maids by Genet? You've got to get that into production.

SW: With your help. We can start a tidal wave of interest. A tsunami!

Every One a Winner

The press reception for this year's Tony Award nominees, held at the Millennium Broadway hotel on May 6, was fairly bursting with talent. Check out my pix of some of the hopefuls, each and every one of whom is award worthy. And on Sunday, June 7, be sure to tune in to the Tonys on CBS television.

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Three nominees for 33 Variations: star Jane Fonda, featured actor Zach Grenier (left), and author/director Moisés Kaufman.

Three nominees for Shrek: Brian d'Arcy James (Leading Actor in a Musical)...

...Sutton Foster (Leading Actress in a Musical)...

...and Christopher Sieber (Featured Actor in a Musical).

Thomas Sadoski and Marin Ireland, both nominated for their work in reasons to be pretty.

Marcia Gay Harden (God of Carnage).

Geoffrey Rush (Exit the King).

Raúl Esparza (Speed-the-Plow) with publicist Leslie Baden.

David Alvarez, Kiril Kulish, and Trent Kowalik, the three young men who rotate in the role of Billy Elliot and who have been collectively nominated for the award for Best Performance by a Leading Actor in a Musical.

Gregory Jbara (Featured Actor in a Musical, Billy Elliot).

Carole Shelley (Featured Actress in a Musical, Billy Elliot) with David Stone (lead producer of Next to Normal).

Haydn Gwynne, who is also up for Featured Actress in a Musical for Billy Elliot.

Two lovely nominees for West Side Story: Josefina Scaglione, who plays Maria...

...and Karen Olivo, who plays Anita.

Hair's unbeatable team of Will Swenson (Berger) and Gavin Creel (Claude).

Three nominees for 9 to 5: Allison Janney, who plays Violet...

...Marc Kudisch, who plays the evil Franklin Hart, Jr....

...and the amazing Dolly Parton, who wrote the show's music and lyrics.

Alice Ripley (Leading Actress in a Musical, Next to Normal).

Constantine Maroulis (Leading Actor in a Musical, Rock of Ages).

The one and only Liza Minnelli, whose Liza's at the Palace is nominated for Best Special Theatrical Event, with pal Jim Caruso, who also performed in the show.

Michael Urie Gets Temperamental

The Temperamentals, a new play by Jon Marans (Old Wicked Songs) about the formation of the first gay rights organization in the U.S. pre-Stonewall, opens at the Barrrow Group Studio Theater on Monday, May 4. Directed by Jonathan Silverstein, the production stars Thomas Jay Ryan as Harry Hay and Ugly Betty's Michael Urie as Rudi Gernreich, with Tom Beckett, Matthew Schneck, and Sam Breslin Wright in other roles. Many performances of the limited run are already sold out, but there will be a waiting list at the door for each show. For more information, go to www.smarttix.com. Here are my exclusive photos of the production.