Karen Akers

September 28, 2009

“Akers Sings Porter: ‘Anything Goes!’”

Oak Room at the Algonquin  –  September 22 – October 24

No one in his right mind would challenge the assertion that Cole Porter was one of the greatest songwriters of all time. However, someone who has been around the New York nightlife scene for a while and has, therefore, been exposed to a considerable amount of Porter’s work could be excused for not bubbling over with excitement at the prospect of yet another evening devoted to his songs. But in her current residency at the Algonquin’s Oak Room, Karen Akers proves that wonderful songs, performed artfully and—this is especially important—each with a point of view, truly are timeless.

Directed by Eric Michael Gillett, who has been her director for the past few years, the show consists mainly of material that is either familiar or very familiar. In Akers’s hands, “Don’t Fence Me In,” normally a quasi-novelty number, becomes a sincere declaration of independence; the song has grown up. She takes “I’m Throwing a Ball Tonight” more slowly and deliberately than we’re accustomed to; the resulting message is more emphatic but no less celebratory. “I Get a Kick Out of You” is here a direct statement, but one infused with hitherto undeclared joy. She displays mounting frustration with “The Physician,” and to the enthusiasm normally expressed in “Take Me Back to Manhattan” she adds sweet affection. In “It’s All Right with Me,” her feelings of love and desire, while manifest, are expressed with subtlety; musical director Don Rebic’s lush piano accompaniment underscores the intensity. Speaking of lush, the bass of Dick Sarpola is a beautifully rich sound.

Akers imbues a medley of three songs about, or set in, Paris with a practically palpable mixture of joy and rue. This takes me to a reservation I have about the show: This is the only number in which she appears to have a personal emotional stake, so, while one can appreciate her artistry throughout the evening, this is the only time one is likely to be moved. (This stands in stark contrast to the emotionally powerful show she did at the Algonquin in Spring 2008.)

Of the sixteen musical numbers, only “Anything Goes” is not distinguished, and “Let’s Do It” should not have been structured with a built-in encore for additional lyrics; this device breaks the momentum. The only rarities are “Buddie, Beware,” an unapologetic admission of sybaritism that was dropped from Anything Goes shortly after its New York opening, and “Where Have You Been?,” a love song from The New Yorkers; both are strong. One wishes that a few other obscurities had been included—after all, not only is this New York, it is the Oak Room. Finally, the show is very loosely presented as a party, with Akers its hostess. This conceit is introduced awkwardly, then pops up unconvincingly two or three times later in the proceedings. Not only does it ring false, it serves no useful purpose and could easily be dispensed with.

Avatar

About the Author

Roy Sander has been covering cabaret and theatre for over thirty years. He’s written cabaret and theatre reviews, features, and commentary for seven print publications, most notably Back Stage, and for CitySearch on the Internet. He covered cabaret monthly on “New York Theatre Review” on PBS TV, and cabaret and theatre weekly on WLIM-FM radio. He was twice a guest instructor at the London School of Musical Theatre. A critic for BistroAwards.com, he is also the site’s Reviews Editor; in addition, he is Chairman of the Advisory Board of MAC.