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“I’LL TAKE MANHATTAN”

James Belzer helmed a one-night event called “I’ll Take Manhattan” at the Lucille Lortel,” taking us on a sentimental journey through Broadway’s great classics, adding in a couple of original numbers for good measure. A Benefit for the Church of St. Luke in the Fields, the show was a cross between Doris Day wholesomeness and contemporary fun. No doubt the evening was a sincere tribute to the dedicated folks at St. Luke’s who have committed themselves to the community 24/7/356 days a year, sunset-to sundown. But the event also served to showcase some formidable talent: showbiz veterans, up-and-comers, straight actors, drag queens, and more. Belzer, who directed and produced the event, brought incredible energy to the evening.

The evening’s opener was a musical performance called “Dandy Pants,” a rock musical band featuring Bishop, Plagal Cadence, LoLo Rossignol, Picardy Third and Snacky. It’s hard to sum up the gestalt of this young group in a few words. But just imagine Bill T. Jones vertical choreography in Spring Awakening fused with some highly-charged percussive music, electric guitars, and edgy vocal expressiveness. The vibes emanating from this grooved-out ensemble were strong, and ensured that no one in the theater was caught dozing.

The show began in earnest with Hosts Robin Kradles and Deryck Todd (looking mighty swank in black ties and formal wear) welcoming everybody to the St. Luke’s Benefit. They injected humor into the show by showing footage from the Disney animated film Wall-e on a large screen, which immediately transported us to a galaxy where robots find new purposes in life and have adventures of a meaningful kind. Kradles and Todd soon shifted their attention from the pixilated robots to the performers on stage. The company (some in drag, some not) sang the opening number “Put on Your Sunday Clothes,” a song which is niftily shared by the movie Wall-e and the musical Hello, Dolly! The company delivered it full of shine and sparkle, reminding us that indeed there is a whole lot of world out there.

Taking a sentimental journey was the big theme of the evening, and no doubt the company’s singing of “Sentimental Journey” (with a Doris Day look-alike in drag) proved the song still pleases. Written back in 1944 by Bud Green, Les Brown, and Ben Homer, it was sung by the company with a mix of sweetness and urgency. It’s funny to recall that folks once worried about the “singability” of this tune. Now an ingrained part of Americana, the song is the vocal equivalent of apple pie.

A trio of singers—Anna Raykhtsaum, Kristi Ambrosetti, and Sarah Downs—brought inventiveness and fresh poignancy to the song “At The Ballet.” Rather than joining their voices in a choral effect, the 3 women reinvented the song as 3 solo pieces, each singer alternately taking a vocal section. Call it the triple threat of the evening, the rich timbre of their voices brought new depth to this classic from A Chorus Line. Standing in front of 3 separate microphones, the trio didn’t need any razzamatazz (or fancy costumes) to communicate the basic message. This was all about human loneliness, the insensitivity of people, and the transcendent beauty of the ballet.

One of the original—and more socially-conscious numbers—was called “Author.” Self-penned and sung by Soren Anders, this song pushes the old axiom “the last shall be first” to its limits. Anders began the song by describing what it was like growing up in a working class family, and having a rich, smart kid for a friend. Not easy. Thus, Anders decides here to morph himself into a successful author, capable of creating an alternate universe where he decides who the major and minor characters are. It’s a witty number, and Anders played out the autobiographical conceit with intelligence and humor.

Returning us to a Broadway state-of-mind, Sal Sabella took firm hold of the nostalgic number “Something’s Coming” from West Side Story. Leonard Bernstein and Stephen Sondheim magically captured the hopefulness of youth in this song, that readiness to meet the future head on. Sabella, tapping into the song’s original spirit, offering a rendition pulsing with passionate optimism.

With 23 numbers on the program, it’s impossible to include all the delicious Broadway morsels that crossed the stage. What’s more, some of the best entertainment happened at the Champagne Reception and cabaret at St. Luke’s Church (ticketholders were invited to the show and dinner) following the show. Many of the evening’s 20 plus performers and crew resurfaced at the Champagne Reception to dine, toast the town, and perform alongside the parishioners and guests on the cabaret stage.

Bravo to Sal Sabella, Caroline Peacock, James Duss, Seth Malkin for their lively singing and gusto at the cabaret. Bob “Rose” wrapped up the evening with that signature tune, “New York, New York!”

If you inadvertently missed the St. Luke’s Benefit, take heart. You can still drop in and visit St. Luke’s Church (487 Hudson Street), which has gained a reputation for its inclusiveness and its extraordinary outreach to the New York City community and beyond.

The Lucille Lortel Theater at 121 Christopher Street

Monday, April 20^th

For more information, visit www.stlukeinthefields.org or tel. 212-924-0562